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"title": "'The Conference of the Birds' Fails to Soar in Oakland",
"headTitle": "‘The Conference of the Birds’ Fails to Soar in Oakland | KQED",
"content": "\u003cp>The literary kinship between poetry and plays has led to many significant works: the choruses of the ancient Greeks, Shakespeare’s iambic pentameter, T.S. Eliot’s verse drama and the numerous contemporary stagings of the poetry of Walt Whitman (including those performed locally by John O’Keefe and Ryan Hayes).\u003c/p>\n\u003cp>In \u003cem>The Conference of the Birds\u003c/em>, a co-production between Inferno Theatre and Ubuntu Theater Project, a 4,800+ line Sufi epic has been adapted for the stage by Sholeh Wolpé, whose well-regarded English translation of the poem was published last year by W.W. Norton & Co. First written circa 1187 A.D. by Persian pharmacist-poet Farid ud-Din Attar, \u003cem>The Conference of the Birds\u003c/em> is a dissertation on Sufi mysticism in rhymed couplets, using birds as metaphors for the fickle human spirit.\u003c/p>\n\u003cfigure id=\"attachment_13846240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846240 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ali-Moosa Mirza, Saira Kaur Mangat, Omar Osoria-Pena, and Jane Eisner are birds of a feather in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gathering of birds sets out to find the kingdom of the mysterious Simorgh, whom they have unanimously agreed should be their ruler. Led by the level-headed Hoopoe (Ashley Jaye), they begin their long journey, traveling across seven valleys and numerous other obstacles. Along the way, as the birds begin to doubt their quest, the Hoopoe encourages them along with a patter of parable. Like Scheherazade, she of the 1,000 stories, the Hoopoe doesn’t lack for tales to tell, which are simultaneously acted out by members of the ensemble. Purpose-driven moths, princesses and commoners, poets and prophets—all come to brief life in a flurry of costume-changes and satin scarves.\u003c/p>\n\u003cfigure id=\"attachment_13846243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846243\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Brazier, Danie Citlali Valdivieso, and Jane Eisner perform an allegory in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When not performing as a character in an allegory, each of the cast embodies a different bird, some more convincingly than others. Sarah Brazier’s Parrot walks with a humorously exaggerated pigeon-toe. Jane Eisner’s Goldfinch is quick on its feet and in the air. Omar Osaria-Pena’s Osprey is proud and reserved. Jaye’s Hoopoe cocks its head and bobs affirmations as it delivers another story to a recalcitrant comrade. Attar (Joshua-Morris Williams), the poet, intersperses the action with his own observations and platitudes, and musician/composer Amir Etemadzadeh scores the momentum with a variety of traditional instruments.\u003c/p>\n\u003cp>But what the production is missing is a strong central vision to guide the birds to their metaphorical destination. Not only are these birds capricious and unruly, but they also appear to lack a strong interior sense of self. Oftentimes the only true signal we have that an actor is in “bird” mode is when they are wearing their masks (beautifully designed by Annie Hallatt). Though the Hoopoe tries its best to impart wisdom though tangent, its stories begin to blur into each other, the message of each disappearing in a muddle of mugging almost as soon as it emerges. This lack of intentionality and rhythm leaves these birds traveling in circles without much solid ground to land on, rendering the purposefulness of their quest to a flight of fancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the program, Wolpé speaks of contemporizing the poem, and adding comic vignettes to the play’s humor which, under the direction of Giulio Cesare Perrone, frequently falls flat. Wolpé has also dispensed with the original structure of rhymed couplets, opting instead for less stylized prose, which, in play form, is less lyrical and more workaday than you might expect from an 800 year-old poem. Despite the possibilities hinted at by the soaring octagonal ceiling and rug-strewn hardwood floor of the performance space in the Brooklyn Preserve, much of the action is staged conventionally, rarely even facing the half of the audience sitting along the far stage left side of the room. This further turns what could be a profound experiment into something disappointingly superficial.\u003c/p>\n\u003cfigure id=\"attachment_13846241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A nightingale looks inside himself. Ali-Moosa Mirza in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not easy to stage—let alone describe—a spiritual quest, and much of the lush imagery of Attar’s original manuscript does shimmer throughout the production, despite its limitations. And when the birds are revealed at the end to be the embodiment of the purpose they seek, discovering the divine within themselves just as they’ve given up all hope of being granted an audience with it, there is a moment of genuine realization. It may come too late in the evening for it to salvage the entire experience—but at least it gives the poem, if not the play, a stronger sense of significance.\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 Conference of the Birds’ runs through Dec. 16 at Brooklyn Preserve. \u003ca href=\"http://www.ubuntutheaterproject.com/birds/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The literary kinship between poetry and plays has led to many significant works: the choruses of the ancient Greeks, Shakespeare’s iambic pentameter, T.S. Eliot’s verse drama and the numerous contemporary stagings of the poetry of Walt Whitman (including those performed locally by John O’Keefe and Ryan Hayes).\u003c/p>\n\u003cp>In \u003cem>The Conference of the Birds\u003c/em>, a co-production between Inferno Theatre and Ubuntu Theater Project, a 4,800+ line Sufi epic has been adapted for the stage by Sholeh Wolpé, whose well-regarded English translation of the poem was published last year by W.W. Norton & Co. First written circa 1187 A.D. by Persian pharmacist-poet Farid ud-Din Attar, \u003cem>The Conference of the Birds\u003c/em> is a dissertation on Sufi mysticism in rhymed couplets, using birds as metaphors for the fickle human spirit.\u003c/p>\n\u003cfigure id=\"attachment_13846240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846240 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ali-Moosa Mirza, Saira Kaur Mangat, Omar Osoria-Pena, and Jane Eisner are birds of a feather in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gathering of birds sets out to find the kingdom of the mysterious Simorgh, whom they have unanimously agreed should be their ruler. Led by the level-headed Hoopoe (Ashley Jaye), they begin their long journey, traveling across seven valleys and numerous other obstacles. Along the way, as the birds begin to doubt their quest, the Hoopoe encourages them along with a patter of parable. Like Scheherazade, she of the 1,000 stories, the Hoopoe doesn’t lack for tales to tell, which are simultaneously acted out by members of the ensemble. Purpose-driven moths, princesses and commoners, poets and prophets—all come to brief life in a flurry of costume-changes and satin scarves.\u003c/p>\n\u003cfigure id=\"attachment_13846243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846243\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Brazier, Danie Citlali Valdivieso, and Jane Eisner perform an allegory in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When not performing as a character in an allegory, each of the cast embodies a different bird, some more convincingly than others. Sarah Brazier’s Parrot walks with a humorously exaggerated pigeon-toe. Jane Eisner’s Goldfinch is quick on its feet and in the air. Omar Osaria-Pena’s Osprey is proud and reserved. Jaye’s Hoopoe cocks its head and bobs affirmations as it delivers another story to a recalcitrant comrade. Attar (Joshua-Morris Williams), the poet, intersperses the action with his own observations and platitudes, and musician/composer Amir Etemadzadeh scores the momentum with a variety of traditional instruments.\u003c/p>\n\u003cp>But what the production is missing is a strong central vision to guide the birds to their metaphorical destination. Not only are these birds capricious and unruly, but they also appear to lack a strong interior sense of self. Oftentimes the only true signal we have that an actor is in “bird” mode is when they are wearing their masks (beautifully designed by Annie Hallatt). Though the Hoopoe tries its best to impart wisdom though tangent, its stories begin to blur into each other, the message of each disappearing in a muddle of mugging almost as soon as it emerges. This lack of intentionality and rhythm leaves these birds traveling in circles without much solid ground to land on, rendering the purposefulness of their quest to a flight of fancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the program, Wolpé speaks of contemporizing the poem, and adding comic vignettes to the play’s humor which, under the direction of Giulio Cesare Perrone, frequently falls flat. Wolpé has also dispensed with the original structure of rhymed couplets, opting instead for less stylized prose, which, in play form, is less lyrical and more workaday than you might expect from an 800 year-old poem. Despite the possibilities hinted at by the soaring octagonal ceiling and rug-strewn hardwood floor of the performance space in the Brooklyn Preserve, much of the action is staged conventionally, rarely even facing the half of the audience sitting along the far stage left side of the room. This further turns what could be a profound experiment into something disappointingly superficial.\u003c/p>\n\u003cfigure id=\"attachment_13846241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A nightingale looks inside himself. Ali-Moosa Mirza in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not easy to stage—let alone describe—a spiritual quest, and much of the lush imagery of Attar’s original manuscript does shimmer throughout the production, despite its limitations. And when the birds are revealed at the end to be the embodiment of the purpose they seek, discovering the divine within themselves just as they’ve given up all hope of being granted an audience with it, there is a moment of genuine realization. It may come too late in the evening for it to salvage the entire experience—but at least it gives the poem, if not the play, a stronger sense of significance.\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 Conference of the Birds’ runs through Dec. 16 at Brooklyn Preserve. \u003ca href=\"http://www.ubuntutheaterproject.com/birds/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It's a Weird, Wonderful 'Life' at SF Opera",
"headTitle": "It’s a Weird, Wonderful ‘Life’ at SF Opera | KQED",
"content": "\u003cp>\u003cem>It’s A Wonderful Life\u003c/em> at SF Opera is the sort of thing you recommend to your more experimental-minded friends. The ones who are willing to try any strange idea, just to see how it turns out. The ones who order a Mission-style burrito in Massachusetts, just to see what Massachusetts does with the concept of a burrito. The ones who watch Gus Van Sant’s shot-for-shot remake of \u003cem>Psycho\u003c/em>, just to see what Gus Van Sant does with the concept of \u003cem>Psycho\u003c/em>. \u003c/p>\n\u003cp>\u003cem>It’s a Wonderful Life\u003c/em> at SF Opera is for these people, who have two more chances to see what the opera does with a concept as beloved, well-worn, and seared into American consciousness as \u003cem>It’s a Wonderful Life\u003c/em>. I’ll give you a hint: it involves George Bailey standing over choppy waters, contemplating suicide, despondently singing, “Even the lasso around the moon has become a noose.”\u003c/p>\n\u003cfigure id=\"attachment_13846387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-800x533.jpg\" alt=\"(L–R) Andriana Chuchman as Mary and William Burden as George in 'It's a Wonderful Life' at SF Opera.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Andriana Chuchman as Mary and William Burden as George in ‘It’s a Wonderful Life’ at SF Opera. \u003ccite>(Cory Weaver / SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other words, this retelling of the classic Christmas story is heavy on drama and light on humor. Part of this fact is just, well, opera. You can’t evoke the fun spontaneity of dozens of teenagers jumping into a swimming pool at a dance when each of them is laboriously narrating their inner thoughts. The exclamation “Hot dog!” is much less joyful when sung in rich baritone. Even the battles with Mr. Potter had some wit to them in the film; in the opera, a chorus of angels sings blithely: “Once again, dreams of travel denied! / Together they fight Potter side by side!” \u003c/p>\n\u003cp>All of this is far more fascinating than disappointing, and forces the viewer inside the heads of Jake Heggie and Gene Scheer, who had the unenviable task of adapting a widely watched classic film for the opera stage. Why did they eliminate the character of Violet? Why did they decide, in George’s reverie, that Mary simply “went away to college” and never came back, instead of becoming the town librarian? Why did they incorporate a recurring dance, the Me-kee Me-kee, in place of “Buffalo Gals”?\u003c/p>\n\u003cfigure id=\"attachment_13846385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-800x533.jpg\" alt=\"Golda Schultz as Clara (center) with Sarah Cambidge, Amitai Pati, Christian Pursell and Ashley Dixon as Angels First Class in 'It's a Wonderful Life' at SF Opera.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Golda Schultz as Clara (center) with Sarah Cambidge, Amitai Pati, Christian Pursell and Ashley Dixon as Angels First Class in ‘It’s a Wonderful Life’ at SF Opera. \u003ccite>(Cory Weaver / SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cast does well with the material; Golda Schultz as the angel Clara, Andriana Chuchman as Mary and William Burden as George Bailey fill the lead roles strongly—and, where there’s room, bring out the annual warm feelings the movie evokes. The scene with the most emotional resonance, oddly, is the run on the Savings and Loan after the Stock Market Crash, when George negotiates desperately with customers who want their money. (Coincidentally, it’s the scene where the libretto hews closest to the film’s dialogue.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the show’s end, after the townsfolk arrive in the Bailey living room to save the day and to drive home the point, in operatic chorus, that “No one is a failure who has friends,” a strange sort of appreciation for the offbeat sets in, like \u003ca href=\"https://www.womansday.com/food-recipes/food-drinks/a2176/10-unusual-eggnog-flavored-foods-114050/\" rel=\"noopener\" target=\"_blank\">egg nog-flavored bubble gum\u003c/a>. \u003cem>The Nutcracker\u003c/em> is coming to the same stage next week, like it does year after year after year. Savor this oddity while you can.\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>‘It’s a Wonderful Life’ runs for two more performances, Dec. 7 and 9, at the War Memorial Opera House. \u003ca href=\"https://sfopera.com/1819season/wonderful/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "An opera retelling of the beloved film, adapted by Jake Heggie and Gene Scheer, is unusual in all the right ways.",
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"description": "An opera retelling of the beloved film, adapted by Jake Heggie and Gene Scheer, is unusual in all the right ways.",
"title": "It's a Weird, Wonderful 'Life' at SF Opera | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>It’s A Wonderful Life\u003c/em> at SF Opera is the sort of thing you recommend to your more experimental-minded friends. The ones who are willing to try any strange idea, just to see how it turns out. The ones who order a Mission-style burrito in Massachusetts, just to see what Massachusetts does with the concept of a burrito. The ones who watch Gus Van Sant’s shot-for-shot remake of \u003cem>Psycho\u003c/em>, just to see what Gus Van Sant does with the concept of \u003cem>Psycho\u003c/em>. \u003c/p>\n\u003cp>\u003cem>It’s a Wonderful Life\u003c/em> at SF Opera is for these people, who have two more chances to see what the opera does with a concept as beloved, well-worn, and seared into American consciousness as \u003cem>It’s a Wonderful Life\u003c/em>. I’ll give you a hint: it involves George Bailey standing over choppy waters, contemplating suicide, despondently singing, “Even the lasso around the moon has become a noose.”\u003c/p>\n\u003cfigure id=\"attachment_13846387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-800x533.jpg\" alt=\"(L–R) Andriana Chuchman as Mary and William Burden as George in 'It's a Wonderful Life' at SF Opera.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Andriana Chuchman as Mary and William Burden as George in ‘It’s a Wonderful Life’ at SF Opera. \u003ccite>(Cory Weaver / SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other words, this retelling of the classic Christmas story is heavy on drama and light on humor. Part of this fact is just, well, opera. You can’t evoke the fun spontaneity of dozens of teenagers jumping into a swimming pool at a dance when each of them is laboriously narrating their inner thoughts. The exclamation “Hot dog!” is much less joyful when sung in rich baritone. Even the battles with Mr. Potter had some wit to them in the film; in the opera, a chorus of angels sings blithely: “Once again, dreams of travel denied! / Together they fight Potter side by side!” \u003c/p>\n\u003cp>All of this is far more fascinating than disappointing, and forces the viewer inside the heads of Jake Heggie and Gene Scheer, who had the unenviable task of adapting a widely watched classic film for the opera stage. Why did they eliminate the character of Violet? Why did they decide, in George’s reverie, that Mary simply “went away to college” and never came back, instead of becoming the town librarian? Why did they incorporate a recurring dance, the Me-kee Me-kee, in place of “Buffalo Gals”?\u003c/p>\n\u003cfigure id=\"attachment_13846385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-800x533.jpg\" alt=\"Golda Schultz as Clara (center) with Sarah Cambidge, Amitai Pati, Christian Pursell and Ashley Dixon as Angels First Class in 'It's a Wonderful Life' at SF Opera.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Golda Schultz as Clara (center) with Sarah Cambidge, Amitai Pati, Christian Pursell and Ashley Dixon as Angels First Class in ‘It’s a Wonderful Life’ at SF Opera. \u003ccite>(Cory Weaver / SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cast does well with the material; Golda Schultz as the angel Clara, Andriana Chuchman as Mary and William Burden as George Bailey fill the lead roles strongly—and, where there’s room, bring out the annual warm feelings the movie evokes. The scene with the most emotional resonance, oddly, is the run on the Savings and Loan after the Stock Market Crash, when George negotiates desperately with customers who want their money. (Coincidentally, it’s the scene where the libretto hews closest to the film’s dialogue.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the show’s end, after the townsfolk arrive in the Bailey living room to save the day and to drive home the point, in operatic chorus, that “No one is a failure who has friends,” a strange sort of appreciation for the offbeat sets in, like \u003ca href=\"https://www.womansday.com/food-recipes/food-drinks/a2176/10-unusual-eggnog-flavored-foods-114050/\" rel=\"noopener\" target=\"_blank\">egg nog-flavored bubble gum\u003c/a>. \u003cem>The Nutcracker\u003c/em> is coming to the same stage next week, like it does year after year after year. Savor this oddity while you can.\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>‘It’s a Wonderful Life’ runs for two more performances, Dec. 7 and 9, at the War Memorial Opera House. \u003ca href=\"https://sfopera.com/1819season/wonderful/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Curran at a Crossroads",
"headTitle": "The Curran at a Crossroads | KQED",
"content": "\u003cp>When the Curran Theater reopened in early 2017 after two years of renovation, owner Carole Shorenstein Hays declared her vision to create an innovative arts space in San Francisco.\u003c/p>\n\u003cp>Even before the Curran was able to open for full productions, it made do—and made headlines—in 2015 with a series of experimental and off-kilter works called \u003cem>Curran: Under Construction\u003c/em>. Entering through a side door and sitting directly on the stage, theatergoers witnessed a staging of David Greig’s provocative Edinburgh Fringe hit, \u003cem>The Events\u003c/em>, Dave Malloy’s experiential \u003cem>Ghost Quartet\u003c/em>, and even a workshopped version of what would become Taylor Mac’s sumptuous \u003cem>A 24-Decade History of Popular Music\u003c/em>.\u003c/p>\n\u003cp>It set a tone, and heralded a sea change from the usual “Best of Broadway” touring fare such as \u003cem>Phantom of the Opera\u003c/em>, which ran at the pre-renovated Curran for five years in the ’90s.\u003c/p>\n\u003cfigure id=\"attachment_13845888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac busting through the fourth wall in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This vision came to grand fruition in September 2017, with a full staging of Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>. Enlisting dozens of local performers and the extravagant costuming abilities of a designer whose preferred moniker “Machine Dazzle” would fit right into a work of utopian fiction, \u003cem>A 24-Decade History of Popular Music \u003c/em>challenged the notion that in order for theater to be impactful it must be “serious.” For Mac’s happy band of misfits, the weirdly static theatrical norms were simply thrown out the window. The fourth wall didn’t exist. Audiences were given a place on the stage, fed soup, and urged to recreate community-building in the aisles.\u003c/p>\n\u003cp>There was glitter. There were tears. There were monumental costume changes. And there were 246 songs, each one meticulously researched and carefully chosen to represent a moment in the history. It was a grand, queer sendoff for 2017, a year that desperately called out for some queering.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But after that heady inauguration, the Curran’s 2018 season has been decidedly less audacious, mainly dedicated to musicals that have continued to stray from the Curran’s trail of innovation. There was the futuristic \u003cem>Soft Power\u003c/em>, by David Henry Hwang and Jeanne Tesori, followed by the fantasy-forward Go-Go’s jukebox musical \u003cem>Head Over Heels\u003c/em>. November saw the welcome return of Taylor Mac with \u003cem>Holiday Sauce\u003c/em>, a season-specific coda to his triumphal 2017 tour.\u003c/p>\n\u003cp>Now, with the \u003ca href=\"https://datebook.sfchronicle.com/theater/judge-denies-injunction-to-stop-dear-evan-hansen-at-curran-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">dust settled last week on a legal battle\u003c/a>, the Curran is at an artistic crossroads.\u003c/p>\n\u003cfigure id=\"attachment_13845894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Levi Ross, Aaron Lazar, Christiane Noll, and Maggie McKenna from the National tour of ‘Dear Evan Hansen.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First, about that legal battle: last Friday, a judge shot down a request by Nederlander of San Francisco, a.k.a. San Francisco theater company SHN, to block Hays from producing \u003cem>Dear Evan Hansen\u003c/em>, which opens this week, and \u003cem>Harry Potter and the Cursed Child\u003c/em>, scheduled to open in the fall of 2019.\u003c/p>\n\u003cp>Both are the types of commercially attractive productions SHN is known to present at the two theaters it operates in San Francisco, the Orpheum and the Golden Gate. SHN had argued that Hays’ booking of the shows violated a noncompete clause. The judge, noting that both shows are touring productions with an open bidding process, ruled in Hays’ favor.\u003c/p>\n\u003cp>For years, Hays and Robert Nederlander were powerhouse theater presenters together under the SHN name. Hays stepped down from the SHN board in 2014, recusing herself from any active decision-making. But she is still a co-owner of SHN, adding another layer of messy to the already awkward professional rivalry under which \u003cem>Dear Evan Hansen\u003c/em> opens this week.\u003c/p>\n\u003cp>While \u003cem>Dear Evan Hansen \u003c/em>is certainly well-regarded, winning numerous Tony awards in 2017 and a Grammy in 2018, it sits solidly in the mainstream of musical theater. Like \u003cem>Fun Home\u003c/em>, which opened the 2017 season at the Curran, \u003cem>Dear Evan Hansen\u003c/em>’s socially-awkward teenage protagonist has resonated deeply with a younger generation of theater-goers who may have left their high school years behind, but have not forgotten the special angst of adolescence. \u003cem>Dear Evan Hansen\u003c/em> should prove to be a lucrative and popular choice for the Curran, as will the 2019-scheduled \u003cem>Harry Potter and the Cursed Child\u003c/em> (also included in the Nederlander suit).\u003c/p>\n\u003cfigure id=\"attachment_13845886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fun Home’ opened the 2017 season at the Curran Theater. Pictured are Karen Eilbacher (lying down) and Abby Corrigan (standing). \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But lucrative and popular doesn’t necessarily translate to groundbreaking. Furthermore, as \u003ca href=\"https://www.nytimes.com/2018/12/01/theater/judge-allows-harry-potter-and-evan-hansen-in-san-francisco.html\">reported in the \u003cem>New York Times\u003c/em> on Saturday\u003c/a>, the ruling revealed that \u003cem>Harry Potter\u003c/em> is intended to run at the Curran for three years, with the possibility of an extension. (Publicists for the Curran did not respond to a request for confirmation of the length of the show’s run.) It’s beginning to seem as if the Curran’s grand ambitions to create an “artistic hub” of “bold, daring work” may already be coming to an end.\u003c/p>\n\u003cp>For Hays’ vision of innovation to stick, the Curran will need to find a show as generous in spirit and perspective-shifting in execution as Mac’s 2017 \u003cem>tour de force\u003c/em> to take center stage between \u003cem>Evan Hansen\u003c/em> and \u003cem>Harry Potter\u003c/em>. No doubt Hays feels some pressure too, before she mounts a long-running commercial success based on one of the highest-grossing movie franchises of all time.\u003c/p>\n\u003cfigure id=\"attachment_13845885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg\" alt=\"Taylor Mac and players in 'A 24-Decade History of Popular Music.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac and players in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Curran’s 2019 season has not been announced yet. In a statement to KQED, Hays was vague about what San Francisco audiences can expect next after \u003cem>Dear Evan Hansen\u003c/em>. “In 2019, and before \u003cem>Harry Potter\u003c/em>, the Curran will be home to an extraordinary theater event, the kind of work that I’ve been most honored to present over the years, and the kind of theater that is essential to our community.”\u003c/p>\n\u003cp>It bears noting that as a Broadway producer, Hays acquired her first Tony in 1987 backing August Wilson’s \u003cem>Fences\u003c/em> (an award she won again in 2010 with the revival), and that her taste for more unconventional work contributed to her desire to acquire and operate the Curran in the first place. It remains to be seen whether the Curran will serve the same purpose it did in years past—as a tourist destination producing the hits \u003cem>du jour\u003c/em> for years-long engagements—or as the embodiment of a more forward-thinking artistic imperative.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I know which direction I’d like to see the trail blazed.\u003c/p>\n\n",
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"excerpt": "As a judge clears the way for the Curran Theater to produce 'Dear Evan Hansen' and 'Harry Potter and the Cursed Child,' its artistic vision remains undefined.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Curran Theater reopened in early 2017 after two years of renovation, owner Carole Shorenstein Hays declared her vision to create an innovative arts space in San Francisco.\u003c/p>\n\u003cp>Even before the Curran was able to open for full productions, it made do—and made headlines—in 2015 with a series of experimental and off-kilter works called \u003cem>Curran: Under Construction\u003c/em>. Entering through a side door and sitting directly on the stage, theatergoers witnessed a staging of David Greig’s provocative Edinburgh Fringe hit, \u003cem>The Events\u003c/em>, Dave Malloy’s experiential \u003cem>Ghost Quartet\u003c/em>, and even a workshopped version of what would become Taylor Mac’s sumptuous \u003cem>A 24-Decade History of Popular Music\u003c/em>.\u003c/p>\n\u003cp>It set a tone, and heralded a sea change from the usual “Best of Broadway” touring fare such as \u003cem>Phantom of the Opera\u003c/em>, which ran at the pre-renovated Curran for five years in the ’90s.\u003c/p>\n\u003cfigure id=\"attachment_13845888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMac_audience_credit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac busting through the fourth wall in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This vision came to grand fruition in September 2017, with a full staging of Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>. Enlisting dozens of local performers and the extravagant costuming abilities of a designer whose preferred moniker “Machine Dazzle” would fit right into a work of utopian fiction, \u003cem>A 24-Decade History of Popular Music \u003c/em>challenged the notion that in order for theater to be impactful it must be “serious.” For Mac’s happy band of misfits, the weirdly static theatrical norms were simply thrown out the window. The fourth wall didn’t exist. Audiences were given a place on the stage, fed soup, and urged to recreate community-building in the aisles.\u003c/p>\n\u003cp>There was glitter. There were tears. There were monumental costume changes. And there were 246 songs, each one meticulously researched and carefully chosen to represent a moment in the history. It was a grand, queer sendoff for 2017, a year that desperately called out for some queering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But after that heady inauguration, the Curran’s 2018 season has been decidedly less audacious, mainly dedicated to musicals that have continued to stray from the Curran’s trail of innovation. There was the futuristic \u003cem>Soft Power\u003c/em>, by David Henry Hwang and Jeanne Tesori, followed by the fantasy-forward Go-Go’s jukebox musical \u003cem>Head Over Heels\u003c/em>. November saw the welcome return of Taylor Mac with \u003cem>Holiday Sauce\u003c/em>, a season-specific coda to his triumphal 2017 tour.\u003c/p>\n\u003cp>Now, with the \u003ca href=\"https://datebook.sfchronicle.com/theater/judge-denies-injunction-to-stop-dear-evan-hansen-at-curran-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">dust settled last week on a legal battle\u003c/a>, the Curran is at an artistic crossroads.\u003c/p>\n\u003cfigure id=\"attachment_13845894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Ben-Levi-Ross_Aaron-Lazar_Christiane-Noll_Maggie-McKenna_Dear-Evan-Hansen_credit_Matthew-Murphy.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Levi Ross, Aaron Lazar, Christiane Noll, and Maggie McKenna from the National tour of ‘Dear Evan Hansen.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First, about that legal battle: last Friday, a judge shot down a request by Nederlander of San Francisco, a.k.a. San Francisco theater company SHN, to block Hays from producing \u003cem>Dear Evan Hansen\u003c/em>, which opens this week, and \u003cem>Harry Potter and the Cursed Child\u003c/em>, scheduled to open in the fall of 2019.\u003c/p>\n\u003cp>Both are the types of commercially attractive productions SHN is known to present at the two theaters it operates in San Francisco, the Orpheum and the Golden Gate. SHN had argued that Hays’ booking of the shows violated a noncompete clause. The judge, noting that both shows are touring productions with an open bidding process, ruled in Hays’ favor.\u003c/p>\n\u003cp>For years, Hays and Robert Nederlander were powerhouse theater presenters together under the SHN name. Hays stepped down from the SHN board in 2014, recusing herself from any active decision-making. But she is still a co-owner of SHN, adding another layer of messy to the already awkward professional rivalry under which \u003cem>Dear Evan Hansen\u003c/em> opens this week.\u003c/p>\n\u003cp>While \u003cem>Dear Evan Hansen \u003c/em>is certainly well-regarded, winning numerous Tony awards in 2017 and a Grammy in 2018, it sits solidly in the mainstream of musical theater. Like \u003cem>Fun Home\u003c/em>, which opened the 2017 season at the Curran, \u003cem>Dear Evan Hansen\u003c/em>’s socially-awkward teenage protagonist has resonated deeply with a younger generation of theater-goers who may have left their high school years behind, but have not forgotten the special angst of adolescence. \u003cem>Dear Evan Hansen\u003c/em> should prove to be a lucrative and popular choice for the Curran, as will the 2019-scheduled \u003cem>Harry Potter and the Cursed Child\u003c/em> (also included in the Nederlander suit).\u003c/p>\n\u003cfigure id=\"attachment_13845886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/FunHome_KarenEilbacher_AbbyCorrigan_credit_JoanMarcus.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fun Home’ opened the 2017 season at the Curran Theater. Pictured are Karen Eilbacher (lying down) and Abby Corrigan (standing). \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But lucrative and popular doesn’t necessarily translate to groundbreaking. Furthermore, as \u003ca href=\"https://www.nytimes.com/2018/12/01/theater/judge-allows-harry-potter-and-evan-hansen-in-san-francisco.html\">reported in the \u003cem>New York Times\u003c/em> on Saturday\u003c/a>, the ruling revealed that \u003cem>Harry Potter\u003c/em> is intended to run at the Curran for three years, with the possibility of an extension. (Publicists for the Curran did not respond to a request for confirmation of the length of the show’s run.) It’s beginning to seem as if the Curran’s grand ambitions to create an “artistic hub” of “bold, daring work” may already be coming to an end.\u003c/p>\n\u003cp>For Hays’ vision of innovation to stick, the Curran will need to find a show as generous in spirit and perspective-shifting in execution as Mac’s 2017 \u003cem>tour de force\u003c/em> to take center stage between \u003cem>Evan Hansen\u003c/em> and \u003cem>Harry Potter\u003c/em>. No doubt Hays feels some pressure too, before she mounts a long-running commercial success based on one of the highest-grossing movie franchises of all time.\u003c/p>\n\u003cfigure id=\"attachment_13845885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg\" alt=\"Taylor Mac and players in 'A 24-Decade History of Popular Music.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/TaylorMaconstage_photocredit_LittleFangPhotography.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac and players in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Curran’s 2019 season has not been announced yet. In a statement to KQED, Hays was vague about what San Francisco audiences can expect next after \u003cem>Dear Evan Hansen\u003c/em>. “In 2019, and before \u003cem>Harry Potter\u003c/em>, the Curran will be home to an extraordinary theater event, the kind of work that I’ve been most honored to present over the years, and the kind of theater that is essential to our community.”\u003c/p>\n\u003cp>It bears noting that as a Broadway producer, Hays acquired her first Tony in 1987 backing August Wilson’s \u003cem>Fences\u003c/em> (an award she won again in 2010 with the revival), and that her taste for more unconventional work contributed to her desire to acquire and operate the Curran in the first place. It remains to be seen whether the Curran will serve the same purpose it did in years past—as a tourist destination producing the hits \u003cem>du jour\u003c/em> for years-long engagements—or as the embodiment of a more forward-thinking artistic imperative.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I know which direction I’d like to see the trail blazed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "High Thrills, Bonkers Aesthetics at Cirque du Soleil's 'Volta'",
"headTitle": "High Thrills, Bonkers Aesthetics at Cirque du Soleil’s ‘Volta’ | KQED",
"content": "\u003cp>You know the circus, or you think you know the circus: lion tamers, tightrope acts, trapeze. You spend your $8 for the traveling Mexican family circus, or your $18 for the burlesque steampunk circus. Perhaps you are a parent whose kids cannot get enough of \u003cem>The Greatest Showman\u003c/em>, a hit movie about the Ringling Bros. and Barnum & Bailey circus that is \u003ca href=\"https://www.usatoday.com/story/news/nation/2017/01/14/ringling-bros-circus-close-after-146-years/96606820/\" rel=\"noopener\" target=\"_blank\">no longer a circus\u003c/a>.\u003c/p>\n\u003cp>Whatever “the circus” means today with its many incarnations, Cirque du Soleil has been doing it eye-poppingly since 1984, when its vibrant neon spasms first thrilled a well-to-do patron under the big top. Running through Feb. 3 in San Francisco inside a climate-controlled tent adjacent to the Giants ballpark, Cirque du Soleil’s new show \u003cem>\u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Volta\u003c/a>\u003c/em> ($54–$165) is a procession of skits, fantasy, acrobatics, skill, and insanely ridiculous outfits even your grandmother would not be caught dead wearing.\u003c/p>\n\u003cfigure id=\"attachment_13846026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13846026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Volta\u003c/em> hints at a vague sort of story, involving uniformed human drones addicted to their cell phones and a blue-haired dreamer among them who dares to be different. This, of course, is immaterial: you’re invested in the show for the two-story trampoline act; the strongman hoisting a woman aloft, one-handed, while riding a unicycle; the double-dutch routine fast enough to power a small city; and the unbelievable aerial routine by the woman affixed to a hanging rope \u003cem>by her hair alone\u003c/em>.\u003c/p>\n\u003cp>All of these acts elicit real-life oohs and aahs from the crowd like circuses of old, but they’re performed \u003cem>elegantly\u003c/em> and \u003cem>with purpose\u003c/em>, Cirque du Soleil seems to want you to know. The violin player can’t just be a violin player—she must play an electric aqua-blue violin shaped like a swordfish. The clown can’t just be a clown—he must be fabulous diva, with cheekbones that could slice a turkey, who dances with petulant laundry machines. The soundtrack sounds like what happens when Sting tries to do “ethnic” music. Nobody has anything resembling a normal hairstyle.\u003c/p>\n\u003cfigure id=\"attachment_13846025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though this be madness, yet there is merriment in ‘t. \u003cem>Volta\u003c/em> ends with a synchronized heavy metal BMX bike routine, suddenly transforming the circus into the X-Games. But when I looked around to the people in the stands last week, every one of them—ladies and gentlemen, boys and girls, children of all ages—had the same look of dazzled wonder in their eye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The circus may change, but humans’ capacity to blow each other’s minds is eternal.\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>Cirque du Soiliel’s ‘Volta’ runs through Feb. 3 at the AT&T Park parking lot in San Francisco before heading to San Jose. \u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know the circus, or you think you know the circus: lion tamers, tightrope acts, trapeze. You spend your $8 for the traveling Mexican family circus, or your $18 for the burlesque steampunk circus. Perhaps you are a parent whose kids cannot get enough of \u003cem>The Greatest Showman\u003c/em>, a hit movie about the Ringling Bros. and Barnum & Bailey circus that is \u003ca href=\"https://www.usatoday.com/story/news/nation/2017/01/14/ringling-bros-circus-close-after-146-years/96606820/\" rel=\"noopener\" target=\"_blank\">no longer a circus\u003c/a>.\u003c/p>\n\u003cp>Whatever “the circus” means today with its many incarnations, Cirque du Soleil has been doing it eye-poppingly since 1984, when its vibrant neon spasms first thrilled a well-to-do patron under the big top. Running through Feb. 3 in San Francisco inside a climate-controlled tent adjacent to the Giants ballpark, Cirque du Soleil’s new show \u003cem>\u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Volta\u003c/a>\u003c/em> ($54–$165) is a procession of skits, fantasy, acrobatics, skill, and insanely ridiculous outfits even your grandmother would not be caught dead wearing.\u003c/p>\n\u003cfigure id=\"attachment_13846026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13846026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Volta\u003c/em> hints at a vague sort of story, involving uniformed human drones addicted to their cell phones and a blue-haired dreamer among them who dares to be different. This, of course, is immaterial: you’re invested in the show for the two-story trampoline act; the strongman hoisting a woman aloft, one-handed, while riding a unicycle; the double-dutch routine fast enough to power a small city; and the unbelievable aerial routine by the woman affixed to a hanging rope \u003cem>by her hair alone\u003c/em>.\u003c/p>\n\u003cp>All of these acts elicit real-life oohs and aahs from the crowd like circuses of old, but they’re performed \u003cem>elegantly\u003c/em> and \u003cem>with purpose\u003c/em>, Cirque du Soleil seems to want you to know. The violin player can’t just be a violin player—she must play an electric aqua-blue violin shaped like a swordfish. The clown can’t just be a clown—he must be fabulous diva, with cheekbones that could slice a turkey, who dances with petulant laundry machines. The soundtrack sounds like what happens when Sting tries to do “ethnic” music. Nobody has anything resembling a normal hairstyle.\u003c/p>\n\u003cfigure id=\"attachment_13846025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though this be madness, yet there is merriment in ‘t. \u003cem>Volta\u003c/em> ends with a synchronized heavy metal BMX bike routine, suddenly transforming the circus into the X-Games. But when I looked around to the people in the stands last week, every one of them—ladies and gentlemen, boys and girls, children of all ages—had the same look of dazzled wonder in their eye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The circus may change, but humans’ capacity to blow each other’s minds is eternal.\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>Cirque du Soiliel’s ‘Volta’ runs through Feb. 3 at the AT&T Park parking lot in San Francisco before heading to San Jose. \u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'In the Heights' Fills a Small Stage With Big Stories at Custom Made Theatre",
"headTitle": "‘In the Heights’ Fills a Small Stage With Big Stories at Custom Made Theatre | KQED",
"content": "\u003cp>With \u003cem>Hamilton\u003c/em> fever still in the air, Custom Made Theatre in San Francisco is in the right place at the right time with a charming, black-box rendition of Lin-Manuel Miranda’s first Broadway musical. Set in New York’s Washington Heights, \u003cem>In the Heights \u003c/em>touches on the dreams and dramas playing out “north of 96\u003csup>th\u003c/sup> Street” over the course of a three-day weekend. With a thoroughly working-class, immigrant-led storyline, the action revolves primarily around the small businesses in the neighborhood, like the corner bodega, the taxi dispatch, and the hair salon.\u003c/p>\n\u003cp>First conceived while Miranda was a sophomore at Wesleyan University, \u003cem>In the Heights \u003c/em>brings a freestyle-salsa-and-meringue-infused slice of life to the stage. Inspired in part by \u003cem>Fiddler on the Roof\u003c/em>, Miranda wrote his musical as part homage to the stories that make up his own Hispanic-American experience growing up in Inwood. It’s not the life-or-death dramatics of the Shakespeare-inspired \u003cem>West Side Story\u003c/em>, but something infinitely sweeter and lighter—just like the café con leche that Usnavi serves at his corner store. Usnavi (played by the extremely likable Julio Chavez) serves as the story’s main narrator and a focal point for much of the action, anchoring the production just as his “dime-a-dozen mom-and-pop stop-and-shop” anchors the neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13845574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845574\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada-800x630.jpg\" alt=\"ensemble photo of 'In the Heights' cast at Custom Made Theatre\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada-1020x803.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Usnavi (center, played by Julio Chavez) runs the neighborhood bodega on his corner of Washington Heights. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As friends and neighbors trickle in for their morning coffees and lottery tickets, we get a quick download of everyone’s personal business. The Rosarios’ treasured daughter Nina is flying home from her first year at Stanford, the Salon ladies are gossiping a blue streak, and Benny is full of dreams. Usnavi’s love interest, the neighborhood ingénue Vanessa (a crackling Nora Fernandez Doane), is trying her damnedest to get out of “the barrio” for good. Usnavi has his own dream: to return someday to the Dominican Republic where he was born. Their connecting thread is that everyone is broke, thanks to the encroaching (and all-too familiar) effects of gentrification.\u003c/p>\n\u003cp>As with many ensemble pieces, everyone gets the opportunity to shine at certain moments. The chemistry between young lovers Nina (Carla Gallardo) and Benny (Dedrick Weathersby) comes alive as they canoodle on his fire escape in “Sunrise.” Abuela Claudia (Michelle Navarrete) reveals her inner strength as she details a life of hardship in the stirring “Paciencia y Fe.” Sergio Lobito as Kevin reflects poignantly on the emasculating effects of poverty in “Inútil.” And as the spitfire salonista-with-a-heart-of-gold, Daniela (Mia Romero) commands the stage as she advocates for a “Carnaval Del Barrio.” Even the nameless shaved-ice vendor “Piragua Guy” (the mellifluous Ernie Tovar) gets to solo, highlighting the importance of every small part in a larger community.\u003c/p>\n\u003cfigure id=\"attachment_13845570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845570\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada-800x587.jpg\" alt=\"Michelle Navarrete as Abuela Claudia\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Navarrete as Abuela Claudia in ‘In the Heights’ at Custom Made Theatre. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production does have its limitations. With little stage space for the athletic choreography such a danceable score demands, director and choreographer Nikki Meñez frequently keeps the \u003cem>movimiento\u003c/em> to a minimum, with many actors delivering their verses face forward, in a static pose. (Blessedly, a major scene set in a nightclub does reveal the superior dance skills of Doane.) The vagaries of sound mixing that plague many a small venue render some lyrics completely unintelligible. And with no (visible) monitors, there’s almost always a moment in the group numbers where someone strays off-key. Sometimes by a lot.\u003c/p>\n\u003cfigure id=\"attachment_13845573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEste%CC%81r_NoraFernandezDoane-_credit_JayYamada-800x732.jpg\" alt=\"Nora Fernandez Doane as Vanessa on dancefloor\" width=\"800\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEstér_NoraFernandezDoane-_credit_JayYamada-800x732.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEstér_NoraFernandezDoane-_credit_JayYamada-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEstér_NoraFernandezDoane-_credit_JayYamada-768x703.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEstér_NoraFernandezDoane-_credit_JayYamada-1020x933.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEstér_NoraFernandezDoane-_credit_JayYamada.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nora Fernandez Doane as Vanessa shows off her dance skills in the nightclub scene of ‘In the Heights’ at Custom Made Theatre. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These technical considerations aside, Custom Made Theatre should be lauded for their ongoing efforts to bring ambitious musicals to the stage. To see an ensemble twelve strong, performing Broadway material just a few feet away, can be an exhilarating experience, especially when each of Custom Made’s delightful cast fully embrace their characters, flaws and triumphs both. There’s not a moment in the two-and-a-half hour production (including intermission) that you don’t care about what’s happening to them: their money woes, their love lives, their business dealings. There aren’t many small companies with regular productions of such size and scope, and Custom Made hasn’t let the limitations of their venues dictate their choices, which is refreshing.\u003c/p>\n\u003cfigure id=\"attachment_13845572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-800x565.jpg\" alt=\"\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Romero, Carla Gallardo, Elena Estér, and Nora Fernandez Doane in the salon in ‘In the Heights’ at Custom Made Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>What makes \u003cem>In the Heights\u003c/em> such a viable choice for revival isn’t just its obvious \u003cem>Hamilton\u003c/em> tie-in. It’s the way the musical centers the stories of everyday people who rarely get to be in the spotlight. No soapbox, no grand commentary, just a good-natured reminder that not all Americans speak English as a first language. Ultimately, \u003cem>In the Heights\u003c/em> tells us that our American dreams of financial and emotional security have much more in common with each other than not—and with immigration the perennial political bugbear that it is, that’s a reminder that cannot come often enough.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In the Heights’ runs through Dec 15 at Custom Made Theatre. \u003ca href=\"https://www.custommade.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With Hamilton fever in the air, some Lin-Manuel Miranda nostalgia comes to San Francisco with his debut musical.",
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"title": "'In the Heights' Fills a Small Stage With Big Stories at Custom Made Theatre | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With \u003cem>Hamilton\u003c/em> fever still in the air, Custom Made Theatre in San Francisco is in the right place at the right time with a charming, black-box rendition of Lin-Manuel Miranda’s first Broadway musical. Set in New York’s Washington Heights, \u003cem>In the Heights \u003c/em>touches on the dreams and dramas playing out “north of 96\u003csup>th\u003c/sup> Street” over the course of a three-day weekend. With a thoroughly working-class, immigrant-led storyline, the action revolves primarily around the small businesses in the neighborhood, like the corner bodega, the taxi dispatch, and the hair salon.\u003c/p>\n\u003cp>First conceived while Miranda was a sophomore at Wesleyan University, \u003cem>In the Heights \u003c/em>brings a freestyle-salsa-and-meringue-infused slice of life to the stage. Inspired in part by \u003cem>Fiddler on the Roof\u003c/em>, Miranda wrote his musical as part homage to the stories that make up his own Hispanic-American experience growing up in Inwood. It’s not the life-or-death dramatics of the Shakespeare-inspired \u003cem>West Side Story\u003c/em>, but something infinitely sweeter and lighter—just like the café con leche that Usnavi serves at his corner store. Usnavi (played by the extremely likable Julio Chavez) serves as the story’s main narrator and a focal point for much of the action, anchoring the production just as his “dime-a-dozen mom-and-pop stop-and-shop” anchors the neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13845574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845574\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada-800x630.jpg\" alt=\"ensemble photo of 'In the Heights' cast at Custom Made Theatre\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada-1020x803.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_CornerStore-_credit_JayYamada.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Usnavi (center, played by Julio Chavez) runs the neighborhood bodega on his corner of Washington Heights. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As friends and neighbors trickle in for their morning coffees and lottery tickets, we get a quick download of everyone’s personal business. The Rosarios’ treasured daughter Nina is flying home from her first year at Stanford, the Salon ladies are gossiping a blue streak, and Benny is full of dreams. Usnavi’s love interest, the neighborhood ingénue Vanessa (a crackling Nora Fernandez Doane), is trying her damnedest to get out of “the barrio” for good. Usnavi has his own dream: to return someday to the Dominican Republic where he was born. Their connecting thread is that everyone is broke, thanks to the encroaching (and all-too familiar) effects of gentrification.\u003c/p>\n\u003cp>As with many ensemble pieces, everyone gets the opportunity to shine at certain moments. The chemistry between young lovers Nina (Carla Gallardo) and Benny (Dedrick Weathersby) comes alive as they canoodle on his fire escape in “Sunrise.” Abuela Claudia (Michelle Navarrete) reveals her inner strength as she details a life of hardship in the stirring “Paciencia y Fe.” Sergio Lobito as Kevin reflects poignantly on the emasculating effects of poverty in “Inútil.” And as the spitfire salonista-with-a-heart-of-gold, Daniela (Mia Romero) commands the stage as she advocates for a “Carnaval Del Barrio.” Even the nameless shaved-ice vendor “Piragua Guy” (the mellifluous Ernie Tovar) gets to solo, highlighting the importance of every small part in a larger community.\u003c/p>\n\u003cfigure id=\"attachment_13845570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845570\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada-800x587.jpg\" alt=\"Michelle Navarrete as Abuela Claudia\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_MichelleNavvarete_BidaliaAlbanese_credit_JayYamada.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Navarrete as Abuela Claudia in ‘In the Heights’ at Custom Made Theatre. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production does have its limitations. With little stage space for the athletic choreography such a danceable score demands, director and choreographer Nikki Meñez frequently keeps the \u003cem>movimiento\u003c/em> to a minimum, with many actors delivering their verses face forward, in a static pose. (Blessedly, a major scene set in a nightclub does reveal the superior dance skills of Doane.) The vagaries of sound mixing that plague many a small venue render some lyrics completely unintelligible. And with no (visible) monitors, there’s almost always a moment in the group numbers where someone strays off-key. Sometimes by a lot.\u003c/p>\n\u003cfigure id=\"attachment_13845573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEste%CC%81r_NoraFernandezDoane-_credit_JayYamada-800x732.jpg\" alt=\"Nora Fernandez Doane as Vanessa on dancefloor\" width=\"800\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEstér_NoraFernandezDoane-_credit_JayYamada-800x732.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEstér_NoraFernandezDoane-_credit_JayYamada-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEstér_NoraFernandezDoane-_credit_JayYamada-768x703.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEstér_NoraFernandezDoane-_credit_JayYamada-1020x933.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_ElenaEstér_NoraFernandezDoane-_credit_JayYamada.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nora Fernandez Doane as Vanessa shows off her dance skills in the nightclub scene of ‘In the Heights’ at Custom Made Theatre. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These technical considerations aside, Custom Made Theatre should be lauded for their ongoing efforts to bring ambitious musicals to the stage. To see an ensemble twelve strong, performing Broadway material just a few feet away, can be an exhilarating experience, especially when each of Custom Made’s delightful cast fully embrace their characters, flaws and triumphs both. There’s not a moment in the two-and-a-half hour production (including intermission) that you don’t care about what’s happening to them: their money woes, their love lives, their business dealings. There aren’t many small companies with regular productions of such size and scope, and Custom Made hasn’t let the limitations of their venues dictate their choices, which is refreshing.\u003c/p>\n\u003cfigure id=\"attachment_13845572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-800x565.jpg\" alt=\"\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/InTheHeights_Salon_credit_JayYamada.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Romero, Carla Gallardo, Elena Estér, and Nora Fernandez Doane in the salon in ‘In the Heights’ at Custom Made Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>What makes \u003cem>In the Heights\u003c/em> such a viable choice for revival isn’t just its obvious \u003cem>Hamilton\u003c/em> tie-in. It’s the way the musical centers the stories of everyday people who rarely get to be in the spotlight. No soapbox, no grand commentary, just a good-natured reminder that not all Americans speak English as a first language. Ultimately, \u003cem>In the Heights\u003c/em> tells us that our American dreams of financial and emotional security have much more in common with each other than not—and with immigration the perennial political bugbear that it is, that’s a reminder that cannot come often enough.\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>\n\u003cp>\u003cem>‘In the Heights’ runs through Dec 15 at Custom Made Theatre. \u003ca href=\"https://www.custommade.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Everything is Illuminated' Coaxes Humor from Tragedy at Aurora Theatre",
"headTitle": "‘Everything is Illuminated’ Coaxes Humor from Tragedy at Aurora Theatre | KQED",
"content": "\u003cp>There’s a long-standing narrative trope in theater, film and books of an uptight Westerner “finding themselves” using the backdrop of an unfamiliar land as a way to frame the action, and lend it an air of exoticism. In \u003cem>Everything is Illuminated\u003c/em>, directed at the Aurora Theatre by outgoing Artistic Director Tom Ross, this trope is central, as New York writer Jonathan (Jeremy Khan) travels to the Ukraine to find the literal land from which his Jewish family roots stem.\u003c/p>\n\u003cp>Armed only with an old photograph and a surfeit of foolish hope, Jonathan looks for the woman who saved his grandfather’s life during World War II. This quest makes little objective sense to Jonathan’s so-called guides: the upbeat America-phile Alex (Adam Burch) and his ill-tempered Grandfather (Julian López-Morillas). But they’ve been paid upfront for the excursion, so after some pushback from Grandfather (the driver, despite his affectation of blindness), the three plus the flatulent “seeing-eye bitch” named Sammy Davis Jr. Jr. set off on a stereotype-laden, buddy-flick-worthy roadtrip to find the village of Trachimbrod, Jonathan’s grandfather’s hometown.\u003c/p>\n\u003cfigure id=\"attachment_13845212\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845212\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-800x621.jpg\" alt=\"\" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-1200x932.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Road Triiiiiip. Adam Burch, Jeremy Kahn, and Julian López-Morillas hit the road in ‘Everything is Illuminated’ at Aurora Theatre. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For every scene that paints Jonathan as an ugly American, whining about the local cuisine or spartan accommodations, the play isn’t hesitant to paint a similarly unsympathetic portrait of Grandfather, whose anti-American, anti-semitic tirades go mostly untranslated by his affable grandson. Alex only wants to keep the peace, and manufacture an experience for Jonathan that will satisfy him enough to recommend the business to others when he goes back to America.\u003c/p>\n\u003cp>“This is \u003cem>your\u003c/em> journey,” he keeps reminding Jonathan with a toothy grin. Unfortunately, for much of the first half of the play, the script is so frequently wooden and transparently cinematic in intention—if not delivery—that it’s hard to feel invested in the expedition, despite strong performances from the actors.\u003c/p>\n\u003cp>Block (and, I imagine, Foer, though I have yet to read the book) forces Alex to speak in his broken English even when he is acting as narrator, not speaking directly to Jonathan, and the inevitable laughs his imperfect command of the language inspires feel patronizing. Also derailing the play’s momentum is an abrupt shift to the far past, to introduce characters from Jonathan’s novel-in-progress: mythologized versions of his ancestors (played by López-Morillas and Marissa Keltie) who speak in exaggerated borscht-belt patois and urge him to keep writing, as neither he nor they know yet where they will wind up.\u003c/p>\n\u003cfigure id=\"attachment_13845208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_LuraDolas_credit_DavidAllen-800x595.jpg\" alt=\"\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_LuraDolas_credit_DavidAllen-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_LuraDolas_credit_DavidAllen-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_LuraDolas_credit_DavidAllen-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_LuraDolas_credit_DavidAllen.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian López-Morillas and Lura Dolas uncover the past in ‘Everything is Illuminated’ at Aurora Theatre. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, when the road-trippers at last make contact with someone outside of their insular bubble of machismo and neurosis, the play turns the previous set of tropes on their heads, revealing what had been clumsily alluded to all along: that there’s far more beneath the surface of any one “journey” than any one protagonist will ever know.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It is my story now as well,” realizes Alex-as-narrator, after a chance-met old woman (the remarkable Lura Dolas) invites them into her home. She begins to piece Jonathan’s grandfather’s past together for them, albeit in a roundabout, inscrutable manner. And indeed, by the end of the evening, it’s Alex who’s traveled the most complete arc, his own family history revealed to him more completely and viscerally than his traveling companion’s. The story he must now “write” is that of his own future, rather than Jonathan’s fictional (and eventually bestselling) homage to the past.\u003c/p>\n\u003cfigure id=\"attachment_13845211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-800x527.jpg\" alt=\"\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-1200x791.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-1920x1265.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-960x633.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-520x343.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian López-Morillas in ‘Everything is Illuminated’ at Aurora Theatre. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course not every story resolves itself in optimism. The novel’s still-embryonic characters, the former inhabitants of Trachimbrod, and Alex’s Grandfather are all given backstories that would give Jerzy Kosiński’s \u003cem>The Painted Bird\u003c/em> a run for its money. And like \u003cem>The Painted Bird\u003c/em>, the litany of atrocities remembered begins to numb rather than to move. What does resonate throughout the play more strongly and ultimately more rewardingly is that of the tenacity of stories both lived and imagined, to carry themselves forward, to propagate, multiply, and be remembered, however imperfectly. Stories are the foundation of all that is human, and it’s certainly clear why a script with an emphasis on the imperative of storytelling would appeal so strongly to a director preparing to move on to the next chapter.\u003c/p>\n\u003cp>On the technical side, the show shines, including stylized sunflowers painted on the floor (courtesy of scenic designer Kate Boyd), the pitch-perfect soundscape of Matt Stines, the Eastern European shabby-chic costuming by Callie Floor and the ominous lightning flashes in Kurt Landisman’s lighting design. For fans of Safran Foer’s acclaimed novel, and certainly for fans of director Tom Ross’ ability to coax humor from tragedy and instill a sense of the mystical into his productions, \u003cem>Everything is Illuminated\u003c/em> is worth a viewing. You may not come away with a sense that \u003cem>everything\u003c/em> is illuminated, but illumination is not necessarily the goal.\u003c/p>\n\u003cfigure id=\"attachment_13845214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JeremyKahn_JulianLopez-Morillas_AdamBurch_credit_DavidAllen-800x554.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JeremyKahn_JulianLopez-Morillas_AdamBurch_credit_DavidAllen-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JeremyKahn_JulianLopez-Morillas_AdamBurch_credit_DavidAllen-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JeremyKahn_JulianLopez-Morillas_AdamBurch_credit_DavidAllen-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JeremyKahn_JulianLopez-Morillas_AdamBurch_credit_DavidAllen.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Kahn, Julian López-Morillas, and Adam Burch toast to the Ukraine in ‘Everything is Illuminated’ at Aurora Theatre. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Everything is Illuminated’ runs through Dec. 16 at Aurora Theatre. Details \u003ca href=\"http://www.auroratheatre.org/everything-is-illuminated\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "An adaptation of Safran Foer’s acclaimed novel, directed by outgoing artistic director Tom Ross, layers story upon story for the stage.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a long-standing narrative trope in theater, film and books of an uptight Westerner “finding themselves” using the backdrop of an unfamiliar land as a way to frame the action, and lend it an air of exoticism. In \u003cem>Everything is Illuminated\u003c/em>, directed at the Aurora Theatre by outgoing Artistic Director Tom Ross, this trope is central, as New York writer Jonathan (Jeremy Khan) travels to the Ukraine to find the literal land from which his Jewish family roots stem.\u003c/p>\n\u003cp>Armed only with an old photograph and a surfeit of foolish hope, Jonathan looks for the woman who saved his grandfather’s life during World War II. This quest makes little objective sense to Jonathan’s so-called guides: the upbeat America-phile Alex (Adam Burch) and his ill-tempered Grandfather (Julian López-Morillas). But they’ve been paid upfront for the excursion, so after some pushback from Grandfather (the driver, despite his affectation of blindness), the three plus the flatulent “seeing-eye bitch” named Sammy Davis Jr. Jr. set off on a stereotype-laden, buddy-flick-worthy roadtrip to find the village of Trachimbrod, Jonathan’s grandfather’s hometown.\u003c/p>\n\u003cfigure id=\"attachment_13845212\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845212\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-800x621.jpg\" alt=\"\" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen-1200x932.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_AdamBurch_JeremyKahn_JulianLopez_Morillas_credit_DavidAllen.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Road Triiiiiip. Adam Burch, Jeremy Kahn, and Julian López-Morillas hit the road in ‘Everything is Illuminated’ at Aurora Theatre. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For every scene that paints Jonathan as an ugly American, whining about the local cuisine or spartan accommodations, the play isn’t hesitant to paint a similarly unsympathetic portrait of Grandfather, whose anti-American, anti-semitic tirades go mostly untranslated by his affable grandson. Alex only wants to keep the peace, and manufacture an experience for Jonathan that will satisfy him enough to recommend the business to others when he goes back to America.\u003c/p>\n\u003cp>“This is \u003cem>your\u003c/em> journey,” he keeps reminding Jonathan with a toothy grin. Unfortunately, for much of the first half of the play, the script is so frequently wooden and transparently cinematic in intention—if not delivery—that it’s hard to feel invested in the expedition, despite strong performances from the actors.\u003c/p>\n\u003cp>Block (and, I imagine, Foer, though I have yet to read the book) forces Alex to speak in his broken English even when he is acting as narrator, not speaking directly to Jonathan, and the inevitable laughs his imperfect command of the language inspires feel patronizing. Also derailing the play’s momentum is an abrupt shift to the far past, to introduce characters from Jonathan’s novel-in-progress: mythologized versions of his ancestors (played by López-Morillas and Marissa Keltie) who speak in exaggerated borscht-belt patois and urge him to keep writing, as neither he nor they know yet where they will wind up.\u003c/p>\n\u003cfigure id=\"attachment_13845208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_LuraDolas_credit_DavidAllen-800x595.jpg\" alt=\"\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_LuraDolas_credit_DavidAllen-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_LuraDolas_credit_DavidAllen-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_LuraDolas_credit_DavidAllen-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_LuraDolas_credit_DavidAllen.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian López-Morillas and Lura Dolas uncover the past in ‘Everything is Illuminated’ at Aurora Theatre. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, when the road-trippers at last make contact with someone outside of their insular bubble of machismo and neurosis, the play turns the previous set of tropes on their heads, revealing what had been clumsily alluded to all along: that there’s far more beneath the surface of any one “journey” than any one protagonist will ever know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It is my story now as well,” realizes Alex-as-narrator, after a chance-met old woman (the remarkable Lura Dolas) invites them into her home. She begins to piece Jonathan’s grandfather’s past together for them, albeit in a roundabout, inscrutable manner. And indeed, by the end of the evening, it’s Alex who’s traveled the most complete arc, his own family history revealed to him more completely and viscerally than his traveling companion’s. The story he must now “write” is that of his own future, rather than Jonathan’s fictional (and eventually bestselling) homage to the past.\u003c/p>\n\u003cfigure id=\"attachment_13845211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-800x527.jpg\" alt=\"\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-1200x791.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-1920x1265.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-960x633.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen-520x343.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JulianLopez-Morillas_credit_DavidAllen.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian López-Morillas in ‘Everything is Illuminated’ at Aurora Theatre. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course not every story resolves itself in optimism. The novel’s still-embryonic characters, the former inhabitants of Trachimbrod, and Alex’s Grandfather are all given backstories that would give Jerzy Kosiński’s \u003cem>The Painted Bird\u003c/em> a run for its money. And like \u003cem>The Painted Bird\u003c/em>, the litany of atrocities remembered begins to numb rather than to move. What does resonate throughout the play more strongly and ultimately more rewardingly is that of the tenacity of stories both lived and imagined, to carry themselves forward, to propagate, multiply, and be remembered, however imperfectly. Stories are the foundation of all that is human, and it’s certainly clear why a script with an emphasis on the imperative of storytelling would appeal so strongly to a director preparing to move on to the next chapter.\u003c/p>\n\u003cp>On the technical side, the show shines, including stylized sunflowers painted on the floor (courtesy of scenic designer Kate Boyd), the pitch-perfect soundscape of Matt Stines, the Eastern European shabby-chic costuming by Callie Floor and the ominous lightning flashes in Kurt Landisman’s lighting design. For fans of Safran Foer’s acclaimed novel, and certainly for fans of director Tom Ross’ ability to coax humor from tragedy and instill a sense of the mystical into his productions, \u003cem>Everything is Illuminated\u003c/em> is worth a viewing. You may not come away with a sense that \u003cem>everything\u003c/em> is illuminated, but illumination is not necessarily the goal.\u003c/p>\n\u003cfigure id=\"attachment_13845214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JeremyKahn_JulianLopez-Morillas_AdamBurch_credit_DavidAllen-800x554.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JeremyKahn_JulianLopez-Morillas_AdamBurch_credit_DavidAllen-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JeremyKahn_JulianLopez-Morillas_AdamBurch_credit_DavidAllen-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JeremyKahn_JulianLopez-Morillas_AdamBurch_credit_DavidAllen-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/EverythingIsIlluminated_JeremyKahn_JulianLopez-Morillas_AdamBurch_credit_DavidAllen.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Kahn, Julian López-Morillas, and Adam Burch toast to the Ukraine in ‘Everything is Illuminated’ at Aurora Theatre. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Everything is Illuminated’ runs through Dec. 16 at Aurora Theatre. Details \u003ca href=\"http://www.auroratheatre.org/everything-is-illuminated\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "con-su-pluma-en-su-mano-gustavo-arellano-inspires-stage-tribute-in-san-jose",
"title": "Con Su Pluma En Su Mano, Gustavo Arellano Inspires Stage Tribute in San Jose",
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"content": "\u003cp>The \u003ca href=\"https://ocweekly.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>OC Weekly\u003c/i>\u003c/a> column \u003ca href=\"https://www.amazon.com/Ask-Mexican-Gustavo-Arellano/dp/1416540032\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ask a Mexican\u003c/em>\u003c/a> started out as a joke in 2004, but within a couple of years, \u003ca href=\"https://tinyletter.com/gustavoarellanosweekly\" target=\"_blank\" rel=\"noopener noreferrer\">Gustavo Arellano\u003c/a> became a nationally syndicated spokesman for Orange County: the good, the bad and the very, very racist. This weekend, you can see his sense of humor interpreted for the stage in San Jose with \u003cem>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a>\u003c/em> at Movimiento de Arte y Cultura Latino Americana, or \u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> for short.\u003c/p>\n\u003cp>The 39 year-old Mexican-American born and raised in Anaheim has covered many topics over the course of his journalistic career: “Tacos, pedophile priests, Mexicans and neo-Nazis. Hey, it’s a living right?” Love his pointed sense of humor or hate it, you’d be hard-pressed to find anyone else who does such a wickedly funny job documenting Orange County’s historically uber-right politics, and politically incorrect attitudes.\u003c/p>\n\u003cp>In \u003cem>Ask a Mexican\u003c/em>, which ended in 2017, Arellano blended a genuine desire to educate with a sarcastic edge that makes the lesson amusing to readers — whether they know the answer already or find themselves quietly taking notes. Here is but one example:\u003c/p>\n\u003cblockquote>\n\u003cp id=\"p_1_1\" class=\"container\">\u003cstrong>Dear Mexican: Believe I’ve heard from you, in an interview, that “gringo” is either out-of-date or inappropriate and that \u003cem>gabacho\u003c/em> is the better choice. I’ve checked online and most sources say that \u003cem>gabacho\u003c/em> is a pejorative and/or generally refers to Europeans. Is this the case, or is \u003cem>gabacho\u003c/em> just a better word than “gringo”? Also, as a native SoCal cracker, is it acceptable for me to use \u003cem>gabacho\u003c/em> or to refer to myself as such? What is the proper etiquette and usage so I don’t offend anyone or embarrass myself? I’ve also asked friends, but the vote seems to be split. \u003c/strong>\u003c/p>\n\u003cp id=\"p_1_2\" class=\"container\">\u003cstrong>Gringo-Gabacho Greg\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp id=\"p_1_3\" class=\"container\">Dear Gabacho: As I’ve explained in this \u003cem>columna\u003c/em> before, \u003cem>gabacho\u003c/em> and gringo are synonyms for the same thing—\u003cem>gabachos\u003c/em>, with the key differences being certainty in their respective etymology (\u003cem>gabacho\u003c/em> comes from Provencal, while no one has ever put forth a definite origin story for “gringo”), and the important fact that \u003cem>gabachos\u003c/em> long ago appropriated “gringo” into a harmless term that has absolutely no sting, while \u003cem>gabacho\u003c/em> maintains its sting. And now you want to proudly refer to yourself as a \u003cem>gabacho\u003c/em>, \u003cem>gabacho\u003c/em>? No. Content yourself with the theft of half of Mexico back in the day, and leave our treasures alone once and for all.\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13844650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg\" alt=\"The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano's stereotype-busting column, "Ask a Mexican."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano’s stereotype-busting column, “Ask a Mexican.” \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"css-1xl4flh e2kc3sl0\">You can see why Arellano has taken heat from readers on the political left as well as right. He takes pride in the criticism, calling himself a Jeremiah, the Old Testament prophet whose complaints about the Jews were not greeted with enthusiasm or warmth by the Chosen People. “I say how it is, whether people like it or not. Most of the time, people don’t like it, but that’s OK,” Arellano says.\u003c/p>\n\u003cp>Arellano \u003ca class=\"css-1g7m0tk\" title=\"\" href=\"https://www.ocregister.com/2017/10/13/gustavo-arellano-editor-in-chief-of-oc-weekly-says-he-quit-instead-of-laying-off-staffers/\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> as editor in chief of the \u003cem>OC Weekly\u003c/em> in 2017, rather than capitulate to a demand by the publication’s owners to lay off most of his staff. Soon after, he began writing a weekly column for the opinion section of \u003cem>\u003ca href=\"http://www.latimes.com/opinion/op-ed/la-oe-arellano-california-20170103-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Los Angeles Times\u003c/a>,\u003c/em> and he delivers regular commentary in a series called\u003cem> \u003ca href=\"https://www.kcrw.com/people/gustavo-arellano\" target=\"_blank\" rel=\"noopener noreferrer\">Orange County Line\u003c/a>\u003c/em> for the Santa Monica public radio station KCRW. But the copyright for the \u003cem>Ask A Mexican\u003c/em> column remains the property of the \u003cem>OC Weekly\u003c/em>, even if it has no value without Arellano’s trademark wit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I would have never imagined that the column would even run that long,” he says. “There was a proposed television show. That flamed out. \u003cem>Ask a Mexican: The Movie.\u003c/em> Yeah, that wasn’t going to happen.”\u003c/p>\n\u003cp>There was even a play, but that died after one reading. But Arellano knew playwright Anthony Garcia, executive artistic director of the Denver theatre company\u003ca href=\"http://suteatro.org\" target=\"_blank\" rel=\"noopener noreferrer\"> Su Teatro\u003c/a>. So when Garcia pitched his concept for another play, “I trusted him,” Arellano says. “And he came up with a great piece of theatre.”\u003c/p>\n\u003cfigure id=\"attachment_13844651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg\" alt=\"Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose. \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2 class=\"css-1xl4flh e2kc3sl0\">So how does this become a play?\u003c/h2>\n\u003cp>To make it work for the stage, Garcia married bits from Arellano’s columns and books with music, dance, and back-and-forth with the audience. “The whole piece really is about asking questions. We say, “Ask, so you don’t look like a \u003ci>pendejo\u003c/i>.” I.e. stupid. “You can get educated and insulted at the same time.”\u003c/p>\n\u003cp>In the last year since the first staged reading at MACLA, \u003cem>¡Interview with a Mexican!\u003c/em> played in Denver and Albuquerque before returning to the Bay Area.\u003c/p>\n\u003cp>Garcia says he’s been surprised at how warmly audiences accept the edgy humor. “There is a conversation about how we can’t talk about race anymore without understanding everybody’s personal vibe. Clearly, I know enough to know when to keep my mouth shut, but on stage, I don’t think we have those same restrictions.”\u003c/p>\n\u003cp>Garcia has led Su Teatro for half a century, and says Arellano’s humor plays well in Denver. “There are Chicanos who’ve been there for a very long time. There’s recent immigrants. There’s second and third-generation Mexican-Americans kids who call themselves Mexicanos but don’t know shit about the Virgen de Guadalupe. And these are my students!” says Garcia, who’s also an adjunct professor at Metro State College in Denver.\u003c/p>\n\u003cp>Garcia adds he hopes this play can serve as a tool to help younger generations understand more about themselves in a palatable fashion. “We love to laugh at ourselves.”\u003c/p>\n\u003cp>Is there one question Arellano gets all the time: “If you hate Orange County so much, why do you live here?”\u003c/p>\n\u003cp>His answer: “You can only truly love Orange County if you despise it. Cause there’s a lot of horrible things with Orange County, but those things are slowly going away.”\u003c/p>\n\u003cp>Does that make Gustavo Arellano an optimist or a pessimist? Well, he’s still living there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a> \u003c/strong>runs through November 11, 2018 at Movimiento de Arte y Cultura Latino Americana in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://ocweekly.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>OC Weekly\u003c/i>\u003c/a> column \u003ca href=\"https://www.amazon.com/Ask-Mexican-Gustavo-Arellano/dp/1416540032\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ask a Mexican\u003c/em>\u003c/a> started out as a joke in 2004, but within a couple of years, \u003ca href=\"https://tinyletter.com/gustavoarellanosweekly\" target=\"_blank\" rel=\"noopener noreferrer\">Gustavo Arellano\u003c/a> became a nationally syndicated spokesman for Orange County: the good, the bad and the very, very racist. This weekend, you can see his sense of humor interpreted for the stage in San Jose with \u003cem>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a>\u003c/em> at Movimiento de Arte y Cultura Latino Americana, or \u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> for short.\u003c/p>\n\u003cp>The 39 year-old Mexican-American born and raised in Anaheim has covered many topics over the course of his journalistic career: “Tacos, pedophile priests, Mexicans and neo-Nazis. Hey, it’s a living right?” Love his pointed sense of humor or hate it, you’d be hard-pressed to find anyone else who does such a wickedly funny job documenting Orange County’s historically uber-right politics, and politically incorrect attitudes.\u003c/p>\n\u003cp>In \u003cem>Ask a Mexican\u003c/em>, which ended in 2017, Arellano blended a genuine desire to educate with a sarcastic edge that makes the lesson amusing to readers — whether they know the answer already or find themselves quietly taking notes. Here is but one example:\u003c/p>\n\u003cblockquote>\n\u003cp id=\"p_1_1\" class=\"container\">\u003cstrong>Dear Mexican: Believe I’ve heard from you, in an interview, that “gringo” is either out-of-date or inappropriate and that \u003cem>gabacho\u003c/em> is the better choice. I’ve checked online and most sources say that \u003cem>gabacho\u003c/em> is a pejorative and/or generally refers to Europeans. Is this the case, or is \u003cem>gabacho\u003c/em> just a better word than “gringo”? Also, as a native SoCal cracker, is it acceptable for me to use \u003cem>gabacho\u003c/em> or to refer to myself as such? What is the proper etiquette and usage so I don’t offend anyone or embarrass myself? I’ve also asked friends, but the vote seems to be split. \u003c/strong>\u003c/p>\n\u003cp id=\"p_1_2\" class=\"container\">\u003cstrong>Gringo-Gabacho Greg\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp id=\"p_1_3\" class=\"container\">Dear Gabacho: As I’ve explained in this \u003cem>columna\u003c/em> before, \u003cem>gabacho\u003c/em> and gringo are synonyms for the same thing—\u003cem>gabachos\u003c/em>, with the key differences being certainty in their respective etymology (\u003cem>gabacho\u003c/em> comes from Provencal, while no one has ever put forth a definite origin story for “gringo”), and the important fact that \u003cem>gabachos\u003c/em> long ago appropriated “gringo” into a harmless term that has absolutely no sting, while \u003cem>gabacho\u003c/em> maintains its sting. And now you want to proudly refer to yourself as a \u003cem>gabacho\u003c/em>, \u003cem>gabacho\u003c/em>? No. Content yourself with the theft of half of Mexico back in the day, and leave our treasures alone once and for all.\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13844650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg\" alt=\"The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano's stereotype-busting column, "Ask a Mexican."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano’s stereotype-busting column, “Ask a Mexican.” \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"css-1xl4flh e2kc3sl0\">You can see why Arellano has taken heat from readers on the political left as well as right. He takes pride in the criticism, calling himself a Jeremiah, the Old Testament prophet whose complaints about the Jews were not greeted with enthusiasm or warmth by the Chosen People. “I say how it is, whether people like it or not. Most of the time, people don’t like it, but that’s OK,” Arellano says.\u003c/p>\n\u003cp>Arellano \u003ca class=\"css-1g7m0tk\" title=\"\" href=\"https://www.ocregister.com/2017/10/13/gustavo-arellano-editor-in-chief-of-oc-weekly-says-he-quit-instead-of-laying-off-staffers/\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> as editor in chief of the \u003cem>OC Weekly\u003c/em> in 2017, rather than capitulate to a demand by the publication’s owners to lay off most of his staff. Soon after, he began writing a weekly column for the opinion section of \u003cem>\u003ca href=\"http://www.latimes.com/opinion/op-ed/la-oe-arellano-california-20170103-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Los Angeles Times\u003c/a>,\u003c/em> and he delivers regular commentary in a series called\u003cem> \u003ca href=\"https://www.kcrw.com/people/gustavo-arellano\" target=\"_blank\" rel=\"noopener noreferrer\">Orange County Line\u003c/a>\u003c/em> for the Santa Monica public radio station KCRW. But the copyright for the \u003cem>Ask A Mexican\u003c/em> column remains the property of the \u003cem>OC Weekly\u003c/em>, even if it has no value without Arellano’s trademark wit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would have never imagined that the column would even run that long,” he says. “There was a proposed television show. That flamed out. \u003cem>Ask a Mexican: The Movie.\u003c/em> Yeah, that wasn’t going to happen.”\u003c/p>\n\u003cp>There was even a play, but that died after one reading. But Arellano knew playwright Anthony Garcia, executive artistic director of the Denver theatre company\u003ca href=\"http://suteatro.org\" target=\"_blank\" rel=\"noopener noreferrer\"> Su Teatro\u003c/a>. So when Garcia pitched his concept for another play, “I trusted him,” Arellano says. “And he came up with a great piece of theatre.”\u003c/p>\n\u003cfigure id=\"attachment_13844651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg\" alt=\"Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose. \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2 class=\"css-1xl4flh e2kc3sl0\">So how does this become a play?\u003c/h2>\n\u003cp>To make it work for the stage, Garcia married bits from Arellano’s columns and books with music, dance, and back-and-forth with the audience. “The whole piece really is about asking questions. We say, “Ask, so you don’t look like a \u003ci>pendejo\u003c/i>.” I.e. stupid. “You can get educated and insulted at the same time.”\u003c/p>\n\u003cp>In the last year since the first staged reading at MACLA, \u003cem>¡Interview with a Mexican!\u003c/em> played in Denver and Albuquerque before returning to the Bay Area.\u003c/p>\n\u003cp>Garcia says he’s been surprised at how warmly audiences accept the edgy humor. “There is a conversation about how we can’t talk about race anymore without understanding everybody’s personal vibe. Clearly, I know enough to know when to keep my mouth shut, but on stage, I don’t think we have those same restrictions.”\u003c/p>\n\u003cp>Garcia has led Su Teatro for half a century, and says Arellano’s humor plays well in Denver. “There are Chicanos who’ve been there for a very long time. There’s recent immigrants. There’s second and third-generation Mexican-Americans kids who call themselves Mexicanos but don’t know shit about the Virgen de Guadalupe. And these are my students!” says Garcia, who’s also an adjunct professor at Metro State College in Denver.\u003c/p>\n\u003cp>Garcia adds he hopes this play can serve as a tool to help younger generations understand more about themselves in a palatable fashion. “We love to laugh at ourselves.”\u003c/p>\n\u003cp>Is there one question Arellano gets all the time: “If you hate Orange County so much, why do you live here?”\u003c/p>\n\u003cp>His answer: “You can only truly love Orange County if you despise it. Cause there’s a lot of horrible things with Orange County, but those things are slowly going away.”\u003c/p>\n\u003cp>Does that make Gustavo Arellano an optimist or a pessimist? Well, he’s still living there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Opera Drops Star Singer In Wake of Sexual Assault Allegations",
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"content": "\u003cp>The \u003ca href=\"http://www.sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has dropped a famous singer accused of sexual assault from its roster for next year.\u003c/p>\n\u003cp>The American star countertenor David Daniels was scheduled to play the principle character of Medoro in the company’s June 2019 production of Handel’s \u003cem>Orlando\u003c/em> at the War Memorial Opera House.\u003c/p>\n\u003cp>San Francisco Opera issued a statement Thursday saying it has removed Daniels from the cast in the wake of multiple sexual assault allegations against the singer that emerged in recent months.\u003c/p>\n\u003cp>One of Daniels’ voice students at the University of Michigan \u003ca href=\"https://www.npr.org/2018/10/25/660555257/second-man-accuses-opera-star-david-daniels-of-sexual-assault\" target=\"_blank\" rel=\"noopener\">filed a lawsuit two weeks ago\u003c/a> alleging his teacher drugged and assaulted him and sent him sexually explicit photos and videos in 2017.\u003c/p>\n\u003cp>Another singer came forward in August saying Daniels raped him in 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Daniels, 52, took a leave of absence at the University of Michigan after the first accusation emerged. He denies both allegations.\u003c/p>\n\u003cp>“The decision to part ways with Mr. Daniels, for business and professional reasons, was reached after considerable deliberation given the serious allegations of sexual assault, an on-going police investigation and a lawsuit filed against the American opera singer,” reads the San Francisco Opera’s statement. “While these situations remain under investigation, San Francisco Opera is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>One of the world’s most renowned contemporary exponents of the “countertenor” voice (a rare, high male voice similar in range to that of a female contralto), Daniels has appeared in five San Francisco Opera productions since 1997.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“David Daniels is very beloved as a singer,” said \u003ca href=\"http://operatattler.com/\" target=\"_blank\" rel=\"noopener\">San Francisco-based opera blogger Charlise Tiee\u003c/a> in a phone interview. “He’s probably the most famous singer of that voice type in the world.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Tiee said the opera community has come out in support of the alleged victims. “I haven’t seen anyone disbelieve the accusers. They sound pretty credible,” Tiee said. “I mean, why would you make allegations if they weren’t true, especially against somebody who is very famous and powerful?”\u003c/p>\n\u003cp>Tiee said firing Daniels was the right thing for San Francisco Opera to do, even if the move comes months after the initial accusations emerged. “I was surprised they didn’t drop him right away after the first allegations,” Tiee said.\u003c/p>\n\u003cp>San Francisco Opera didn’t immediately respond to questions about the timing of the decision.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has dropped a famous singer accused of sexual assault from its roster for next year.\u003c/p>\n\u003cp>The American star countertenor David Daniels was scheduled to play the principle character of Medoro in the company’s June 2019 production of Handel’s \u003cem>Orlando\u003c/em> at the War Memorial Opera House.\u003c/p>\n\u003cp>San Francisco Opera issued a statement Thursday saying it has removed Daniels from the cast in the wake of multiple sexual assault allegations against the singer that emerged in recent months.\u003c/p>\n\u003cp>One of Daniels’ voice students at the University of Michigan \u003ca href=\"https://www.npr.org/2018/10/25/660555257/second-man-accuses-opera-star-david-daniels-of-sexual-assault\" target=\"_blank\" rel=\"noopener\">filed a lawsuit two weeks ago\u003c/a> alleging his teacher drugged and assaulted him and sent him sexually explicit photos and videos in 2017.\u003c/p>\n\u003cp>Another singer came forward in August saying Daniels raped him in 2010.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daniels, 52, took a leave of absence at the University of Michigan after the first accusation emerged. He denies both allegations.\u003c/p>\n\u003cp>“The decision to part ways with Mr. Daniels, for business and professional reasons, was reached after considerable deliberation given the serious allegations of sexual assault, an on-going police investigation and a lawsuit filed against the American opera singer,” reads the San Francisco Opera’s statement. “While these situations remain under investigation, San Francisco Opera is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>One of the world’s most renowned contemporary exponents of the “countertenor” voice (a rare, high male voice similar in range to that of a female contralto), Daniels has appeared in five San Francisco Opera productions since 1997.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“David Daniels is very beloved as a singer,” said \u003ca href=\"http://operatattler.com/\" target=\"_blank\" rel=\"noopener\">San Francisco-based opera blogger Charlise Tiee\u003c/a> in a phone interview. “He’s probably the most famous singer of that voice type in the world.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Tiee said the opera community has come out in support of the alleged victims. “I haven’t seen anyone disbelieve the accusers. They sound pretty credible,” Tiee said. “I mean, why would you make allegations if they weren’t true, especially against somebody who is very famous and powerful?”\u003c/p>\n\u003cp>Tiee said firing Daniels was the right thing for San Francisco Opera to do, even if the move comes months after the initial accusations emerged. “I was surprised they didn’t drop him right away after the first allegations,” Tiee said.\u003c/p>\n\u003cp>San Francisco Opera didn’t immediately respond to questions about the timing of the decision.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jordi Savall Explores the Musical Legacy of 'The Routes of Slavery'",
"headTitle": "Jordi Savall Explores the Musical Legacy of ‘The Routes of Slavery’ | KQED",
"content": "\u003cp>There aren’t a lot of early music historians who are also celebrities, but the Catalonian composer and musician \u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall\" target=\"_blank\" rel=\"noopener\">Jordi Savall\u003c/a> is one of them. He shot onto the international scene in 1991 with his heart-stopping viola da gamba performances in the film \u003ci>Tous les Matins du monde\u003c/i>. He has made more than 100 recordings, and his books have been published in eight languages.\u003c/p>\n\u003cp>Over the breadth of his half-century career, Savall has used his celebrity to draw crowds to hear epic musical adventures into history, sharing the stage with family and talents far beyond his home country of Spain.\u003c/p>\n\u003cp>\u003cem>With\u003c/em>\u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall&aview=prog&rid=2725\" target=\"_blank\" rel=\"noopener\">\u003cem> The Routes of Slavery\u003c/em>\u003c/a>, Savall has been touring the world with a couple dozen musicians, singers, and dancers from four continents, pairing them with local narrators and academics to cover the transatlantic slave trade. The troupe performs at \u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">UC Berkeley\u003c/a> and at \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">Stanford\u003c/a> this weekend, before heading to Seattle and then Austin.\u003c/p>\n\u003cp>For the purposes of \u003cem>Routes\u003c/em>, Savall sets his boundaries thusly: 1444, when the Portuguese began trading slaves, and 1888, when Brazil became the last Western country to abolish slavery. During that time, tens of millions of people were forcibly shipped from Africa to the Americas. (Estimates vary, depending on whether you account for those who died en route.)\u003c/p>\n\u003cfigure id=\"attachment_13844117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844117\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg\" alt=\"The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade. \u003ccite>(Photo: Courtesy of Jordi Savall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was the primary economic engine of the world economy for centuries,” says US history professor \u003ca href=\"https://history.stanford.edu/people/james-t-campbell\" target=\"_blank\" rel=\"noopener\">Jim Campbell\u003c/a>, who will be part of the pre-show talk at Bing Concert Hall on Sunday. “It’s hard to imagine any history that we in the West have managed or contrived to forget and evade more thoroughly. Most Americans have no clue of the scope, duration and historical significance of the transatlantic slave trade.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, to emphasize his point, Campbell gets Biblical. “You know, there’s a passage from the story of Jacob where he prophesies the diaspora.”\u003c/p>\n\u003cblockquote>\u003cp>And thy seed shall be as the dust of the earth, and thou shalt spread abroad to the west, and to the east, and to the north, and to the south: and in thee and in thy seed shall all the families of the earth be blessed. – Genesis 28:14\u003c/p>\u003c/blockquote>\n\u003cp>“That grim but oddly hopeful prophecy is, to me, also the story of the transatlantic slave trade — and we here see it realized musically.”\u003c/p>\n\u003cp>The result is lush, moving and even joyful.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=MBKj_5nUXVw]\u003c/p>\n\u003cp>Campbell’s partner in the talk is \u003ca href=\"https://classics.stanford.edu/people/grant-parker\" target=\"_blank\" rel=\"noopener\">Grant Parker\u003c/a>, an associate professor of classics at Stanford who’s also involved in the university’s \u003ca href=\"https://africanstudies.stanford.edu\" target=\"_blank\" rel=\"noopener\">Center for African Studies\u003c/a>.\u003c/p>\n\u003cp>“It’s clear that Jordi Savall is very conscious of the problems of celebration in the context of such a grim history. Yet he has pulled it off with such a sensitivity, making it very clear that he’s interested in the individuals the lives involved and adding a human dimension to people that are otherwise names or perhaps not even names,” Parker says.\u003c/p>\n\u003cp>In this era when the personal narrative reigns supreme, it’s hard for many audience members to wrap their arms around a multi-century epic with so little written record from the people who were enslaved.\u003c/p>\n\u003cp>Between the music, Savall has narrators read from a variety of sources. There’s a passage from an 1855 Abraham Lincoln wrote to a friend and slave owner in Kentucky. There’s a passage from Martin Luther-King Jr’s 1963 book, \u003cem>Why We Can’t Wait. \u003c/em>Perhaps most horrifying is the first reading from the 1444 book the \u003cem>Chronicle of the Discovery and Conquest of Guinea, \u003c/em>by Gomes Eannes de Azurara.\u003c/p>\n\u003cblockquote>\u003cp>Very early in the morning because of the heat, a few Portuguese seamen unloaded their African cargo consisting of 235 slaves on the south west point of the Algarve in Portugal. This arrival of this collection of Africans was a novelty which attracted the curiosity of a number of people, including Prince Hendry of Portugal.\u003cspan class=\"Apple-converted-space\"> \u003c/span> He watched impassive on horseback and himself received 46 of the slaves present, the royal fifth.\u003c/p>\u003c/blockquote>\n\u003cp>“The fact that they’re human beings is inconsequential,” says Santa Clara University theatre professor and actor \u003ca href=\"https://www.scu.edu/theatre/faculty--staff/aldo-billingslea/\" target=\"_blank\" rel=\"noopener\">Aldo Billingslea\u003c/a>, who’s serving as the narrator for the Saturday performance at Zellerbach. “All of it speaks to me in some way. These beautiful sounds go right through your cartilage, your bone, your flesh and move your soul. It’s a spiritual event.”\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>What Savall has fixed on is that music is a form of history. Those slaves are speaking to us across the centuries about their experience.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Routes of Slavery\u003c/strong> plays Saturday November 3, 2018 at Zellerbach Hall and Sunday, November 4, 2018 at Bing Concert Hall. For more information, click \u003cstrong>\u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong> and \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There aren’t a lot of early music historians who are also celebrities, but the Catalonian composer and musician \u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall\" target=\"_blank\" rel=\"noopener\">Jordi Savall\u003c/a> is one of them. He shot onto the international scene in 1991 with his heart-stopping viola da gamba performances in the film \u003ci>Tous les Matins du monde\u003c/i>. He has made more than 100 recordings, and his books have been published in eight languages.\u003c/p>\n\u003cp>Over the breadth of his half-century career, Savall has used his celebrity to draw crowds to hear epic musical adventures into history, sharing the stage with family and talents far beyond his home country of Spain.\u003c/p>\n\u003cp>\u003cem>With\u003c/em>\u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall&aview=prog&rid=2725\" target=\"_blank\" rel=\"noopener\">\u003cem> The Routes of Slavery\u003c/em>\u003c/a>, Savall has been touring the world with a couple dozen musicians, singers, and dancers from four continents, pairing them with local narrators and academics to cover the transatlantic slave trade. The troupe performs at \u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">UC Berkeley\u003c/a> and at \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">Stanford\u003c/a> this weekend, before heading to Seattle and then Austin.\u003c/p>\n\u003cp>For the purposes of \u003cem>Routes\u003c/em>, Savall sets his boundaries thusly: 1444, when the Portuguese began trading slaves, and 1888, when Brazil became the last Western country to abolish slavery. During that time, tens of millions of people were forcibly shipped from Africa to the Americas. (Estimates vary, depending on whether you account for those who died en route.)\u003c/p>\n\u003cfigure id=\"attachment_13844117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844117\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg\" alt=\"The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade. \u003ccite>(Photo: Courtesy of Jordi Savall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was the primary economic engine of the world economy for centuries,” says US history professor \u003ca href=\"https://history.stanford.edu/people/james-t-campbell\" target=\"_blank\" rel=\"noopener\">Jim Campbell\u003c/a>, who will be part of the pre-show talk at Bing Concert Hall on Sunday. “It’s hard to imagine any history that we in the West have managed or contrived to forget and evade more thoroughly. Most Americans have no clue of the scope, duration and historical significance of the transatlantic slave trade.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, to emphasize his point, Campbell gets Biblical. “You know, there’s a passage from the story of Jacob where he prophesies the diaspora.”\u003c/p>\n\u003cblockquote>\u003cp>And thy seed shall be as the dust of the earth, and thou shalt spread abroad to the west, and to the east, and to the north, and to the south: and in thee and in thy seed shall all the families of the earth be blessed. – Genesis 28:14\u003c/p>\u003c/blockquote>\n\u003cp>“That grim but oddly hopeful prophecy is, to me, also the story of the transatlantic slave trade — and we here see it realized musically.”\u003c/p>\n\u003cp>The result is lush, moving and even joyful.\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/MBKj_5nUXVw'\n title='//www.youtube.com/embed/MBKj_5nUXVw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Campbell’s partner in the talk is \u003ca href=\"https://classics.stanford.edu/people/grant-parker\" target=\"_blank\" rel=\"noopener\">Grant Parker\u003c/a>, an associate professor of classics at Stanford who’s also involved in the university’s \u003ca href=\"https://africanstudies.stanford.edu\" target=\"_blank\" rel=\"noopener\">Center for African Studies\u003c/a>.\u003c/p>\n\u003cp>“It’s clear that Jordi Savall is very conscious of the problems of celebration in the context of such a grim history. Yet he has pulled it off with such a sensitivity, making it very clear that he’s interested in the individuals the lives involved and adding a human dimension to people that are otherwise names or perhaps not even names,” Parker says.\u003c/p>\n\u003cp>In this era when the personal narrative reigns supreme, it’s hard for many audience members to wrap their arms around a multi-century epic with so little written record from the people who were enslaved.\u003c/p>\n\u003cp>Between the music, Savall has narrators read from a variety of sources. There’s a passage from an 1855 Abraham Lincoln wrote to a friend and slave owner in Kentucky. There’s a passage from Martin Luther-King Jr’s 1963 book, \u003cem>Why We Can’t Wait. \u003c/em>Perhaps most horrifying is the first reading from the 1444 book the \u003cem>Chronicle of the Discovery and Conquest of Guinea, \u003c/em>by Gomes Eannes de Azurara.\u003c/p>\n\u003cblockquote>\u003cp>Very early in the morning because of the heat, a few Portuguese seamen unloaded their African cargo consisting of 235 slaves on the south west point of the Algarve in Portugal. This arrival of this collection of Africans was a novelty which attracted the curiosity of a number of people, including Prince Hendry of Portugal.\u003cspan class=\"Apple-converted-space\"> \u003c/span> He watched impassive on horseback and himself received 46 of the slaves present, the royal fifth.\u003c/p>\u003c/blockquote>\n\u003cp>“The fact that they’re human beings is inconsequential,” says Santa Clara University theatre professor and actor \u003ca href=\"https://www.scu.edu/theatre/faculty--staff/aldo-billingslea/\" target=\"_blank\" rel=\"noopener\">Aldo Billingslea\u003c/a>, who’s serving as the narrator for the Saturday performance at Zellerbach. “All of it speaks to me in some way. These beautiful sounds go right through your cartilage, your bone, your flesh and move your soul. It’s a spiritual event.”\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>What Savall has fixed on is that music is a form of history. Those slaves are speaking to us across the centuries about their experience.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Routes of Slavery\u003c/strong> plays Saturday November 3, 2018 at Zellerbach Hall and Sunday, November 4, 2018 at Bing Concert Hall. For more information, click \u003cstrong>\u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong> and \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.jazzmafia.com/adam-theis/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> is one of those Bay Area music scene figures whose cup runneth over with so much talent, you’ve likely heard him without realizing it. He’s the founder of the locally beloved collective Jazz Mafia; has co-written songs with Blackalicious, Zion-I and Lyrics Born; and performed as a sideman with KRS One, Booker T. Jones and J Boogie’s Dubtronic Science. One time, in 2009, Stevie Wonder crashed one of his shows at an intimate club in the Mission district and \u003ca href=\"http://www.jazzmafia.com/news-1/2017/4/10/jffndbr4c1s03pdjfvlp9v412fdzd5\" target=\"_blank\" rel=\"noopener\">performed two songs with his band\u003c/a>. He’s \u003cem>that \u003c/em>good.\u003c/p>\n\u003cp>https://youtu.be/M0V0bNdJT-4\u003c/p>\n\u003cp>Theis’ latest project is a Jazz Mafia collaboration with the Vau de Vire Society, a circus arts collective comprised of dancers, aerialists and contortionists with an avant-garde edge. Their new production, \u003ca href=\"http://www.thesoileddove.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Soiled Dove\u003c/em>\u003c/a>, takes place inside a giant red tent down the block from the Fox Theater in downtown Oakland. Jazz Mafia perform a live soundtrack at the event, which runs every Friday and Saturday through Nov. 17. The music is also available on \u003ca href=\"https://jazzmafia.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>—though the pole dancers and acrobats won’t come with your download.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.jazzmafia.com/adam-theis/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> is one of those Bay Area music scene figures whose cup runneth over with so much talent, you’ve likely heard him without realizing it. He’s the founder of the locally beloved collective Jazz Mafia; has co-written songs with Blackalicious, Zion-I and Lyrics Born; and performed as a sideman with KRS One, Booker T. Jones and J Boogie’s Dubtronic Science. One time, in 2009, Stevie Wonder crashed one of his shows at an intimate club in the Mission district and \u003ca href=\"http://www.jazzmafia.com/news-1/2017/4/10/jffndbr4c1s03pdjfvlp9v412fdzd5\" target=\"_blank\" rel=\"noopener\">performed two songs with his band\u003c/a>. He’s \u003cem>that \u003c/em>good.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M0V0bNdJT-4'\n title='//www.youtube.com/embed/M0V0bNdJT-4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Theis’ latest project is a Jazz Mafia collaboration with the Vau de Vire Society, a circus arts collective comprised of dancers, aerialists and contortionists with an avant-garde edge. Their new production, \u003ca href=\"http://www.thesoileddove.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Soiled Dove\u003c/em>\u003c/a>, takes place inside a giant red tent down the block from the Fox Theater in downtown Oakland. Jazz Mafia perform a live soundtrack at the event, which runs every Friday and Saturday through Nov. 17. The music is also available on \u003ca href=\"https://jazzmafia.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>—though the pole dancers and acrobats won’t come with your download.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Medea Project’s 'When Did Your Hands Become a Weapon?' Speaks for the Silenced",
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"content": "\u003cp>Representation matters. As artists and patrons of the arts, we’re currently seeing great demand for the creation and consumption of work that addresses a plurality of voices and the many ways of being, of living. But when you attend a mainstream theater to see a production that is itself of the mainstream—even as it addresses critical issues and multiple points of view—can it really be said that you’re getting the most representative version of those stories? How do we create space for the voices of the people most impacted by those situations, and avoid watering down the narrative to suit the dominant aesthetic?\u003c/p>\n\u003cp>Since 1990, the Medea Project: Theater for Incarcerated Women/HIV Circle, led by Rhodessa Jones of Cultural Odyssey (currently in its 40th year), has performed works by, with, and inspired by women who are or have been incarcerated. Currently, they work in collaboration with women from UCSF’s Women’s HIV program. In creating space for ignored voices, the Medea Project doesn’t ask politely—they demand their rightful place at the table. With their latest show, \u003cem>When Did Your Hands Become a Weapon?\u003c/em>, the multi-cultural, multi-generational ensemble addresses issues of violence against women in a series of frequently poetic vignettes, pulsing with vitality, vision, and veracity.\u003c/p>\n\u003cfigure id=\"attachment_13843842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843842\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fe Bongolan represents in ‘When Did Your Hands Become a Weapon?’ at Brava Theater. \u003ccite>(David Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mood is set before the show begins, with pre-curtain projections of injustices alongside revolutionary women over the centuries: the interior of the Brookes slave ship, Angela Davis, Tiananmen Square, Tarana Burke. The voice that opens the show is a recording of an incarcerated woman, credited only as “Jillian” in the program, who walks us through the horrors of her abuse.\u003c/p>\n\u003cp>[contextly_sidebar id=”7VIluFpVoAYWgxKpqvru2ndEh1u1qR08″]\u003c/p>\n\u003cp>“You’ll make it,” the voice promises. “Never give in.” From the back of the Brava Theater the women enter, dressed to move in flowing fabrics, wide trousers or leggings, and hair braided, bound or flowing freely. Together they inhabit the ode of the “Feral Woman,” led by Lisa Frias, one of the company choreographers, with fluid arms and uninhibited stances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve come to rescue you from all that silences you,” she promises, addressing not just the ensemble, but the entire audience, as they take the stage in a burst of color and energy and rustling fabrics.\u003c/p>\n\u003cfigure id=\"attachment_13843844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shea James, Uzo Nwankpa, Marlene Stoeckl performing in the Medea Project’s ‘When Did Your Hands Become a Weapon?’ at Brava Theater. \u003ccite>(David Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And indeed, as the performance progresses to a series of almost 30 ensemble movement pieces, poetry, song lyrics, and solitary monologues—life-affirming litanies and heart-wrenching tales of abuse—the assembled audience is frequently encouraged and moved to respond. Audible exhalations of held breath. Affirmations and applause. Urgent murmurs. There is a stage, true. But there’s no fourth wall separating or sanitizing the audience experience. We’re a tangible part of the performance, our very presence an affirmation of the importance of showing up for your neighbors, your families, and your fellow travelers.\u003c/p>\n\u003cfigure id=\"attachment_13843843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shea James, C. Chibueze Crouch, Uzo Nwankpa, Lisa Frias, and Angela Wilson relive childhood trauma in ‘When Did Your Hands Become a Weapon?’ \u003ccite>(David Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When Did Your Hands Become a Weapon?\u003c/em> is a glittering chain of a performance, each small vignette a link of equivalent weight to the next, as the ensemble moves in and out of each piece with grace and confidence and each woman gets her own chance to shine.\u003c/p>\n\u003cp>Some standouts: the moment when Medea Project founder Rhodessa Jones enters the room, with a poem and a prayer, leading the audience into offering dedications to Christine Blasey Ford, Maxine Waters, Shirley Chisolm, Angela Davis, and Stormy Daniels. A wild, angry, and cathartic dance piece with the women beating on picnic chairs with drumsticks with ferocious abandon. An intense, uneasy monologue, “The Abyss of Dis-ease,” performed by Angela Wilson wearing a menacing mask and wielding a whip. A pair of equally intense vignettes detailing prostitution, drug addiction, and domestic abuse by Felicia Scaggs, who’s been with the Medea project since its inception. The harrowing “Exorcism,” by Uzo Nwankpa, a recounting of the many traumas that shaped a young life. \u003c/p>\n\u003cp>With no overarching narrative or single moment of climax, the rhythm of the evening is very much one of emotional peaks and troughs, of agony and awareness. (Occasionally, long-time ensemble member Fe Bongolan perches expertly on a cajón, providing a welcome rhythm for her fellow performers to move to.) It culminates in a litany of survival and triumph presented by each of the women in turn.\u003c/p>\n\u003cfigure id=\"attachment_13843845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-800x556.jpeg\" alt=\"\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13843845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-800x556.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-768x533.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-1020x708.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-1200x833.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-1920x1333.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-1180x820.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-960x667.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-240x167.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-375x260.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-520x361.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Medea Project ensemble performing When Did Your Hands Become a Weapon at Brava Theater. \u003ccite>(David Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When Did Your Hands Become a Weapon?\u003c/em> embodies the healing potential of speaking up, speaking out, speaking the truth to whomever is willing to listen. For the audience, it also exemplifies the healing potential of active listening, of making and holding space for these essential stories to be told.\u003c/p>\n\u003cp>It’s work that may admittedly never capture as broad an audience as the Broadway darling \u003cem>du jour\u003c/em>, but it’s work that deserves every bit as much attention.\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>‘When Did Your Hands Become a Weapon?’ runs through Nov. 4. \u003ca href=\"https://brava.secure.force.com/ticket/#details_a0S4100000EhY6IEAV\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Representation matters. As artists and patrons of the arts, we’re currently seeing great demand for the creation and consumption of work that addresses a plurality of voices and the many ways of being, of living. But when you attend a mainstream theater to see a production that is itself of the mainstream—even as it addresses critical issues and multiple points of view—can it really be said that you’re getting the most representative version of those stories? How do we create space for the voices of the people most impacted by those situations, and avoid watering down the narrative to suit the dominant aesthetic?\u003c/p>\n\u003cp>Since 1990, the Medea Project: Theater for Incarcerated Women/HIV Circle, led by Rhodessa Jones of Cultural Odyssey (currently in its 40th year), has performed works by, with, and inspired by women who are or have been incarcerated. Currently, they work in collaboration with women from UCSF’s Women’s HIV program. In creating space for ignored voices, the Medea Project doesn’t ask politely—they demand their rightful place at the table. With their latest show, \u003cem>When Did Your Hands Become a Weapon?\u003c/em>, the multi-cultural, multi-generational ensemble addresses issues of violence against women in a series of frequently poetic vignettes, pulsing with vitality, vision, and veracity.\u003c/p>\n\u003cfigure id=\"attachment_13843842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843842\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/FeBongolan_credit_DavidWilson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fe Bongolan represents in ‘When Did Your Hands Become a Weapon?’ at Brava Theater. \u003ccite>(David Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mood is set before the show begins, with pre-curtain projections of injustices alongside revolutionary women over the centuries: the interior of the Brookes slave ship, Angela Davis, Tiananmen Square, Tarana Burke. The voice that opens the show is a recording of an incarcerated woman, credited only as “Jillian” in the program, who walks us through the horrors of her abuse.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You’ll make it,” the voice promises. “Never give in.” From the back of the Brava Theater the women enter, dressed to move in flowing fabrics, wide trousers or leggings, and hair braided, bound or flowing freely. Together they inhabit the ode of the “Feral Woman,” led by Lisa Frias, one of the company choreographers, with fluid arms and uninhibited stances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve come to rescue you from all that silences you,” she promises, addressing not just the ensemble, but the entire audience, as they take the stage in a burst of color and energy and rustling fabrics.\u003c/p>\n\u003cfigure id=\"attachment_13843844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesUzo-NwankpaMarlene-Stoeckl_credit_DavidWilson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shea James, Uzo Nwankpa, Marlene Stoeckl performing in the Medea Project’s ‘When Did Your Hands Become a Weapon?’ at Brava Theater. \u003ccite>(David Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And indeed, as the performance progresses to a series of almost 30 ensemble movement pieces, poetry, song lyrics, and solitary monologues—life-affirming litanies and heart-wrenching tales of abuse—the assembled audience is frequently encouraged and moved to respond. Audible exhalations of held breath. Affirmations and applause. Urgent murmurs. There is a stage, true. But there’s no fourth wall separating or sanitizing the audience experience. We’re a tangible part of the performance, our very presence an affirmation of the importance of showing up for your neighbors, your families, and your fellow travelers.\u003c/p>\n\u003cfigure id=\"attachment_13843843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Shea-JamesCChibuezeCrouchUzo-NwankpaLisa-FriasAngela-Wilson_credot_DavidWilson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shea James, C. Chibueze Crouch, Uzo Nwankpa, Lisa Frias, and Angela Wilson relive childhood trauma in ‘When Did Your Hands Become a Weapon?’ \u003ccite>(David Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When Did Your Hands Become a Weapon?\u003c/em> is a glittering chain of a performance, each small vignette a link of equivalent weight to the next, as the ensemble moves in and out of each piece with grace and confidence and each woman gets her own chance to shine.\u003c/p>\n\u003cp>Some standouts: the moment when Medea Project founder Rhodessa Jones enters the room, with a poem and a prayer, leading the audience into offering dedications to Christine Blasey Ford, Maxine Waters, Shirley Chisolm, Angela Davis, and Stormy Daniels. A wild, angry, and cathartic dance piece with the women beating on picnic chairs with drumsticks with ferocious abandon. An intense, uneasy monologue, “The Abyss of Dis-ease,” performed by Angela Wilson wearing a menacing mask and wielding a whip. A pair of equally intense vignettes detailing prostitution, drug addiction, and domestic abuse by Felicia Scaggs, who’s been with the Medea project since its inception. The harrowing “Exorcism,” by Uzo Nwankpa, a recounting of the many traumas that shaped a young life. \u003c/p>\n\u003cp>With no overarching narrative or single moment of climax, the rhythm of the evening is very much one of emotional peaks and troughs, of agony and awareness. (Occasionally, long-time ensemble member Fe Bongolan perches expertly on a cajón, providing a welcome rhythm for her fellow performers to move to.) It culminates in a litany of survival and triumph presented by each of the women in turn.\u003c/p>\n\u003cfigure id=\"attachment_13843845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-800x556.jpeg\" alt=\"\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13843845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-800x556.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-768x533.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-1020x708.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-1200x833.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-1920x1333.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-1180x820.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-960x667.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-240x167.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-375x260.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson-520x361.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MedeaProject_ensemble_credit_DavidWilson.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Medea Project ensemble performing When Did Your Hands Become a Weapon at Brava Theater. \u003ccite>(David Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When Did Your Hands Become a Weapon?\u003c/em> embodies the healing potential of speaking up, speaking out, speaking the truth to whomever is willing to listen. For the audience, it also exemplifies the healing potential of active listening, of making and holding space for these essential stories to be told.\u003c/p>\n\u003cp>It’s work that may admittedly never capture as broad an audience as the Broadway darling \u003cem>du jour\u003c/em>, but it’s work that deserves every bit as much attention.\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>‘When Did Your Hands Become a Weapon?’ runs through Nov. 4. \u003ca href=\"https://brava.secure.force.com/ticket/#details_a0S4100000EhY6IEAV\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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