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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'",
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"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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"title": "Jazz Mafia Soundtrack The Soiled Dove's Acrobatic Magic",
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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",
"headTitle": "Medea Project’s ‘When Did Your Hands Become a Weapon?’ Speaks for the Silenced | KQED",
"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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"title": "Love the Film? Then 'Waitress' the Musical is a Side Dish Worth Ordering",
"headTitle": "Love the Film? Then ‘Waitress’ the Musical is a Side Dish Worth Ordering | KQED",
"content": "\u003cp>The story of a server and pie-maker at a roadside diner who gets pregnant and has an affair with her gynecologist, \u003cem>Waitress\u003c/em> began life as a charming, deceptively simple movie starring Keri Russell, in 2007. Portraying the darker side of small-town America in film is not new, but writer and director Adrienne Shelly brought a refreshing female perspective to that Hitchcockian trope—and added plenty of sugar, butter and flour. It remains one of \u003ca href=\"https://www.facebook.com/notes/gabe-meline/25-favorite-films-of-the-last-decade/228229688659/\" rel=\"noopener\" target=\"_blank\">my favorite films\u003c/a>. \u003c/p>\n\u003cp>[contextly_sidebar id=”Cb81J78cBx16pgeSqdWfPUeBbfvYPm8U”]\u003c/p>\n\u003cp>Enter \u003cem>Waitress\u003c/em> the musical, which \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=&gclid=EAIaIQobChMIp9-4o-mR3gIVAb7ACh37vwRKEAAYASAAEgJo8fD_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">opened this week\u003c/a> at the Golden Gate Theater in San Francisco. Loyal to Shelly’s film (down to some exact dialogue), plus 17 fine but mostly forgettable songs by adult-contemporary radio hitmaker Sara Bareilles, the show peddles in both the cute and the complicated. Unlike the movie, which blended those two elements in a natural, realistic way, the musical version maximizes both and sends them in different directions. There is exaggerated, slapstick physical comedy for guaranteed laughs, and there is the belted, introspective who-am-I number in the second act that moves the crowd to sustained applause. Such is the way of Broadway.\u003c/p>\n\u003cp>Still, along with its eye-popping set and affable cast, the strength of Shelly’s intricate story carries this production. One has to wonder what Shelly, who was \u003ca href=\"https://www.nytimes.com/2006/11/07/nyregion/07actress.html\" rel=\"noopener\" target=\"_blank\">tragically murdered\u003c/a> in her home by a stranger just months before \u003cem>Waitress\u003c/em> opened in movie theaters, would make of this musical. With the lead character Jenna played to perfection by Christine Dwyer, and with Jenna’s agency intact at story’s end, and with an all-female creative team—including director Diane Paulus—I’d like to think she’d hail this \u003cem>Waitress\u003c/em> for the confection it is: sweet, satisfying, and comfortable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Waitress’ runs through Nov. 11 at the Golden Gate Theater in San Francisco. \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=&gclid=EAIaIQobChMIp9-4o-mR3gIVAb7ACh37vwRKEAAYASAAEgJo8fD_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "This 'Waitress' serves all new songs with an affable cast—but it's ultimately carried by the strength of Adrienne Shelly's story.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The story of a server and pie-maker at a roadside diner who gets pregnant and has an affair with her gynecologist, \u003cem>Waitress\u003c/em> began life as a charming, deceptively simple movie starring Keri Russell, in 2007. Portraying the darker side of small-town America in film is not new, but writer and director Adrienne Shelly brought a refreshing female perspective to that Hitchcockian trope—and added plenty of sugar, butter and flour. It remains one of \u003ca href=\"https://www.facebook.com/notes/gabe-meline/25-favorite-films-of-the-last-decade/228229688659/\" rel=\"noopener\" target=\"_blank\">my favorite films\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Enter \u003cem>Waitress\u003c/em> the musical, which \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=&gclid=EAIaIQobChMIp9-4o-mR3gIVAb7ACh37vwRKEAAYASAAEgJo8fD_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">opened this week\u003c/a> at the Golden Gate Theater in San Francisco. Loyal to Shelly’s film (down to some exact dialogue), plus 17 fine but mostly forgettable songs by adult-contemporary radio hitmaker Sara Bareilles, the show peddles in both the cute and the complicated. Unlike the movie, which blended those two elements in a natural, realistic way, the musical version maximizes both and sends them in different directions. There is exaggerated, slapstick physical comedy for guaranteed laughs, and there is the belted, introspective who-am-I number in the second act that moves the crowd to sustained applause. Such is the way of Broadway.\u003c/p>\n\u003cp>Still, along with its eye-popping set and affable cast, the strength of Shelly’s intricate story carries this production. One has to wonder what Shelly, who was \u003ca href=\"https://www.nytimes.com/2006/11/07/nyregion/07actress.html\" rel=\"noopener\" target=\"_blank\">tragically murdered\u003c/a> in her home by a stranger just months before \u003cem>Waitress\u003c/em> opened in movie theaters, would make of this musical. With the lead character Jenna played to perfection by Christine Dwyer, and with Jenna’s agency intact at story’s end, and with an all-female creative team—including director Diane Paulus—I’d like to think she’d hail this \u003cem>Waitress\u003c/em> for the confection it is: sweet, satisfying, and comfortable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Waitress’ runs through Nov. 11 at the Golden Gate Theater in San Francisco. \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=waitress-musical&BOparam::WScontent::loadArticle::context_id=&gclid=EAIaIQobChMIp9-4o-mR3gIVAb7ACh37vwRKEAAYASAAEgJo8fD_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Prepping for Art Basel, Toxic Waste Face Bring Mind-Melting Drag to The Stud",
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"content": "\u003cp>\u003ca href=\"https://www.facebook.com/toxicwasteface/\" target=\"_blank\" rel=\"noopener\">Toxic Waste Face\u003c/a> combines the superpowers of avant-drag performers Jader (one of the stars of KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">\u003cem>Changing Face of Drag\u003c/em>\u003c/a> series), Vainhein and Pseuda to venture beyond gender-bending and into mind-melting spectacles that combine theater, video art and otherworldly costumes. Forget lipstick, hip pads and regular ol’ lipsyncing—it’s all about alien prosthetics, self-made costumes and interdisciplinary performance art. [contextly_sidebar id=”PWqBG4r1MRcOlQTNyq5sRu46fHXzJL88″]\u003c/p>\n\u003cp>In 2017, Toxic Waste Face performed their most ambitious work to date: \u003cem>Mega Mall\u003c/em>, a theater piece about a post-apocalyptic future where humans inhabit mall-like shelters and consumerism and survival are intertwined.\u003c/p>\n\u003cp>Now, the group has been invited to perform at the Satellite Art Fair during Art Basel in Miami. To \u003ca href=\"https://www.facebook.com/events/245449339450706/\" target=\"_blank\" rel=\"noopener\">fundraise\u003c/a> for the trip and give their fans at home a peek at what’s in store, Toxic Waste Face’s next performance, \u003cem>\u003ca href=\"https://www.facebook.com/events/245449339450706/\" target=\"_blank\" rel=\"noopener\">Teens With Fever\u003c/a>\u003c/em>, is set to take place at The Stud, one of San Francisco’s longest-running gay bars, on Oct. 19. [contextly_sidebar id=”ZCc0PYU9NCa4np26FHbxVRGU07mTdh6w”]\u003c/p>\n\u003cp>The meat of this drag show will be Toxic Waste Face’s performance, but other exciting drag performers are also featured on the lineup. There’s Florida Man, who just went viral for their sexy \u003ca href=\"https://youtu.be/yVfULwWFFb0\" target=\"_blank\" rel=\"noopener\">Voldemort drag number\u003c/a> (yes, you read that correctly), Jillian Gnarling, \u003ca href=\"https://www.kqed.org/arts/13835533/nicki-jizzs-daring-drag-puts-performers-of-color-in-the-spotlight\" target=\"_blank\" rel=\"noopener\">Nicki Jizz\u003c/a> and Boy Young. Plus, DJ sets by Vin Sol, Brown Amy, DJ Lady Bug and Matthew Paul.\u003c/p>\n\u003cp>https://www.instagram.com/p/BoHczCrFTfy/?hl=en&taken-by=jader_vision\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "This is America: Lynn Nottage’s 'Sweat' at ACT a Timeless Depiction of Working Class",
"headTitle": "This is America: Lynn Nottage’s ‘Sweat’ at ACT a Timeless Depiction of Working Class | KQED",
"content": "\u003cp>After the 2016 election of Donald Trump, almost every week brought a new book regarding race, or class, or both, many focusing on the plight of the economically forgotten residents in “red” states—such as \u003cem>Hillbilly Elegy\u003c/em> by J.D. Vance, and \u003cem>Strangers in Their Own Land\u003c/em>, by Arlie Hochschild. And while those books captured many salient aspects of the slow erosion of dreams in devastated communities, none of them captured as fully nuanced a portrait of their crisis, generations in the making, as Lynn Nottage’s Pulitzer-winning play \u003cem>Sweat\u003c/em>.\u003c/p>\n\u003cp>Set in the depressed steel town of Reading, Pennsylvania—for a time the poorest in the nation—\u003cem>Sweat \u003c/em>is the culmination of many months of research: Nottage interviewed the residents of Reading, hanging out in their bars, observing their day-to-day reality. Originally commissioned by the Oregon Shakespeare Festival for their American Revolution series, Nottage’s \u003cem>Sweat\u003c/em> takes place in 2000 and 2008, and debuted a full year before the 2016 election. Yet its clear-eyed portrayal of a factory-town population whose factories are shuttering stirred the \u003cem>New Yorker\u003c/em> to label it “the first theatrical landmark of the \u003cem>Trump era.” \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13842531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-375x251.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia (Tonye Patano) and Tracey (Lise Bruneau) argue at the bar as Stan (Rod Gnapp) looks on. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, two years into Trump’s presidency and with midterms looming on the horizon, \u003cem>Sweat\u003c/em> has become a timely (and timeless) ode to an American Dream-turned-nightmare, and to the struggles of a community poor in options but rich in spirit. As it is, Reading still lives with the real-life impact of the fictionalized events depicted onstage at A.C.T.’s Geary Theater.\u003c/p>\n\u003cp>Pulling no punches, \u003cem>Sweat\u003c/em>, directed by Magic Theatre’s Loretta Greco, begins in 2008 in a stark room where African-American parole officer Evan (Adrian Roberts) is patiently grilling his petulant charge, Jason (David Darrow), his face obscured by a crude mass of neo-nazi tattoos and a very prominent black eye. After dismissing Jason, Evan meets with another agitated ex-con, Chris (Kadeem Ali Harris), who reveals that he’d run into Jason, a figure from his past, and wasn’t prepared for the memories raised by their accidental reunion.\u003c/p>\n\u003cfigure id=\"attachment_13842533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1200x801.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1920x1282.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1180x788.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris (Kadeem Ali Harris) and Jason (David Darrow) have a beer at the bar. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Quickly rolling back in time to get the rest of their story and that of the tight-knit community that raised them, much of \u003cem>Sweat\u003c/em> takes place in 2000, in a bar where Stan (Rod Gnapp), himself a former factory worker, presides over the taps. Serving as the sounding board for the floor crew of Olstead’s (a fictional steel-tubing plant inspired by Reading’s real-life Hoffmann Industries), Stan is privy not just to the day-to-day dramas of his regulars, but to an understanding of the economic and political long game that will soon tear their aspirations apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bar set, designed by Andrew Boyce, is detail-perfect, down to the mismatched stools and prepaid phone card billboard, and the equally attentive costuming by Ulises Alcala, lighting by Allen Lee Hughes, projections by Hana S. Kim and sound design by Jake Rodriguez give the production as strong a sense of time and place as the dated slang that punctuates Jason and Chris’ dialogue, and lines about NAFTA and George W. Bush.\u003c/p>\n\u003cp>As Tracey, Lise Bruneau gives a riveting performance of a woman whose life begins to unravel from the moment she dismisses Stan’s oracular forecast of the future of the factory line. (She also dismisses his flirtatious overtures.) Her bestie, Cynthia (Tonye Patano), serves as the perfect foil for Tracey’s tightly-wound personality. Her onstage manner is more even-keeled, (despite having been recently booked for disorderly conduct “in my own damn house”), and embodies the cautious optimism and determination of a person who’s finally daring to climb the ladder a little higher, a staple of the mythology of \u003cem>an\u003c/em> American Dream in which hard work and company loyalty is rewarded and respected. Sarah Nina Hayon as Jesse, the third in their trio, embodies the role of middle-aged barfly, replete with the poignant regrets of a person who let the notion of “possibility” melt away as soon as she began earning a steady paycheck.\u003c/p>\n\u003cfigure id=\"attachment_13842529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-375x251.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Jed Parsario) and Stan (Rod Gnapp) discuss the implications of Oscar’s desire to break the picket line and work at Olstead’s. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jason and Chris are Tracey and Cynthia’s sons. Through the course of the play, they come to their own brutal understanding of the ways in which their own possibilities have become illusions, occasionally helped in this understanding by Chris’ father Brucie (skillfully portrayed by \u003cspan class=\"st\">Chiké\u003c/span> Johnson), whose own downward spiral has been assisted by his struggles with addiction. Rounding out the storyline and the cast is Oscar (Jed Parsario), a somewhat sullen but ever-watchful Columbian-American busboy who’s been trying for a position at Olstead’s for two years. Blinded by their perceptions of the way things are “supposed” to be, the plant employees can’t accept that he may have just as much claim on the line as they do, even though, like them, he was born in Reading.\u003c/p>\n\u003cp>Ultimately it’s Oscar’s strategy of biding his time and waiting for opportunity that serves him best, though in a very unexpected way, and the play ends with his words and an act of personal compassion, leaving us to wrestle with the implications of both.\u003c/p>\n\u003cp>For \u003cem>Sweat\u003c/em>’s true strength lies in the vast reservoirs of empathy with which Nottage approaches and reveals each character, be it an ex-con with neo-nazi tattoos to a strike-breaking scab looking for a better paycheck, or a frustrated striker’s display of casual racism to a newly-minted supervisor forced to lock her own son out of the factory where they work together. The harder Nottage pushes her characters into uncomfortable moral positions, the more she allows their raw humanity to shine through.\u003c/p>\n\u003cfigure id=\"attachment_13842530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_Chike%CC%81Johnson_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris (Kadeem Ali Harris) and Brucie (Chiké Johnson) have a heart-to-heart in the bar. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Importantly, the play leaves the many questions it poses unanswered. How do we overcome those things that divide us to connect to what may unite us? What factors are most to blame for the erosion of the “American Dream?” What dreams can we collectively create to take its place?\u003c/p>\n\u003cp>As a playwright, Nottage is neither soothsayer nor financial consultant, but a skilled chronicler making visible our collective desires, rage, and shame. With \u003cem>Sweat\u003c/em>, she dares us to reconnect to our common ground before it’s too late.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sweat’ runs through Oct. 21 at A.C.T.’s Geary Theater. \u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat.highResolutionDisplay.html\" 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>After the 2016 election of Donald Trump, almost every week brought a new book regarding race, or class, or both, many focusing on the plight of the economically forgotten residents in “red” states—such as \u003cem>Hillbilly Elegy\u003c/em> by J.D. Vance, and \u003cem>Strangers in Their Own Land\u003c/em>, by Arlie Hochschild. And while those books captured many salient aspects of the slow erosion of dreams in devastated communities, none of them captured as fully nuanced a portrait of their crisis, generations in the making, as Lynn Nottage’s Pulitzer-winning play \u003cem>Sweat\u003c/em>.\u003c/p>\n\u003cp>Set in the depressed steel town of Reading, Pennsylvania—for a time the poorest in the nation—\u003cem>Sweat \u003c/em>is the culmination of many months of research: Nottage interviewed the residents of Reading, hanging out in their bars, observing their day-to-day reality. Originally commissioned by the Oregon Shakespeare Festival for their American Revolution series, Nottage’s \u003cem>Sweat\u003c/em> takes place in 2000 and 2008, and debuted a full year before the 2016 election. Yet its clear-eyed portrayal of a factory-town population whose factories are shuttering stirred the \u003cem>New Yorker\u003c/em> to label it “the first theatrical landmark of the \u003cem>Trump era.” \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13842531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-375x251.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TonyePatano_LiseBruneau_RodGnapp_credit_KevinBerne.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia (Tonye Patano) and Tracey (Lise Bruneau) argue at the bar as Stan (Rod Gnapp) looks on. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, two years into Trump’s presidency and with midterms looming on the horizon, \u003cem>Sweat\u003c/em> has become a timely (and timeless) ode to an American Dream-turned-nightmare, and to the struggles of a community poor in options but rich in spirit. As it is, Reading still lives with the real-life impact of the fictionalized events depicted onstage at A.C.T.’s Geary Theater.\u003c/p>\n\u003cp>Pulling no punches, \u003cem>Sweat\u003c/em>, directed by Magic Theatre’s Loretta Greco, begins in 2008 in a stark room where African-American parole officer Evan (Adrian Roberts) is patiently grilling his petulant charge, Jason (David Darrow), his face obscured by a crude mass of neo-nazi tattoos and a very prominent black eye. After dismissing Jason, Evan meets with another agitated ex-con, Chris (Kadeem Ali Harris), who reveals that he’d run into Jason, a figure from his past, and wasn’t prepared for the memories raised by their accidental reunion.\u003c/p>\n\u003cfigure id=\"attachment_13842533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1200x801.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1920x1282.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-1180x788.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/ChrisKadeenAliHarris_JasonDavidDarrow_credit_KevinBerne.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris (Kadeem Ali Harris) and Jason (David Darrow) have a beer at the bar. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Quickly rolling back in time to get the rest of their story and that of the tight-knit community that raised them, much of \u003cem>Sweat\u003c/em> takes place in 2000, in a bar where Stan (Rod Gnapp), himself a former factory worker, presides over the taps. Serving as the sounding board for the floor crew of Olstead’s (a fictional steel-tubing plant inspired by Reading’s real-life Hoffmann Industries), Stan is privy not just to the day-to-day dramas of his regulars, but to an understanding of the economic and political long game that will soon tear their aspirations apart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bar set, designed by Andrew Boyce, is detail-perfect, down to the mismatched stools and prepaid phone card billboard, and the equally attentive costuming by Ulises Alcala, lighting by Allen Lee Hughes, projections by Hana S. Kim and sound design by Jake Rodriguez give the production as strong a sense of time and place as the dated slang that punctuates Jason and Chris’ dialogue, and lines about NAFTA and George W. Bush.\u003c/p>\n\u003cp>As Tracey, Lise Bruneau gives a riveting performance of a woman whose life begins to unravel from the moment she dismisses Stan’s oracular forecast of the future of the factory line. (She also dismisses his flirtatious overtures.) Her bestie, Cynthia (Tonye Patano), serves as the perfect foil for Tracey’s tightly-wound personality. Her onstage manner is more even-keeled, (despite having been recently booked for disorderly conduct “in my own damn house”), and embodies the cautious optimism and determination of a person who’s finally daring to climb the ladder a little higher, a staple of the mythology of \u003cem>an\u003c/em> American Dream in which hard work and company loyalty is rewarded and respected. Sarah Nina Hayon as Jesse, the third in their trio, embodies the role of middle-aged barfly, replete with the poignant regrets of a person who let the notion of “possibility” melt away as soon as she began earning a steady paycheck.\u003c/p>\n\u003cfigure id=\"attachment_13842529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-960x641.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-375x251.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne-520x347.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/JedParsario_RodGnapp_credit_KevinBerne.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Jed Parsario) and Stan (Rod Gnapp) discuss the implications of Oscar’s desire to break the picket line and work at Olstead’s. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jason and Chris are Tracey and Cynthia’s sons. Through the course of the play, they come to their own brutal understanding of the ways in which their own possibilities have become illusions, occasionally helped in this understanding by Chris’ father Brucie (skillfully portrayed by \u003cspan class=\"st\">Chiké\u003c/span> Johnson), whose own downward spiral has been assisted by his struggles with addiction. Rounding out the storyline and the cast is Oscar (Jed Parsario), a somewhat sullen but ever-watchful Columbian-American busboy who’s been trying for a position at Olstead’s for two years. Blinded by their perceptions of the way things are “supposed” to be, the plant employees can’t accept that he may have just as much claim on the line as they do, even though, like them, he was born in Reading.\u003c/p>\n\u003cp>Ultimately it’s Oscar’s strategy of biding his time and waiting for opportunity that serves him best, though in a very unexpected way, and the play ends with his words and an act of personal compassion, leaving us to wrestle with the implications of both.\u003c/p>\n\u003cp>For \u003cem>Sweat\u003c/em>’s true strength lies in the vast reservoirs of empathy with which Nottage approaches and reveals each character, be it an ex-con with neo-nazi tattoos to a strike-breaking scab looking for a better paycheck, or a frustrated striker’s display of casual racism to a newly-minted supervisor forced to lock her own son out of the factory where they work together. The harder Nottage pushes her characters into uncomfortable moral positions, the more she allows their raw humanity to shine through.\u003c/p>\n\u003cfigure id=\"attachment_13842530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_Chike%CC%81Johnson_credit_KevinBerne-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/KadeemAliHarris_ChikéJohnson_credit_KevinBerne-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris (Kadeem Ali Harris) and Brucie (Chiké Johnson) have a heart-to-heart in the bar. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Importantly, the play leaves the many questions it poses unanswered. How do we overcome those things that divide us to connect to what may unite us? What factors are most to blame for the erosion of the “American Dream?” What dreams can we collectively create to take its place?\u003c/p>\n\u003cp>As a playwright, Nottage is neither soothsayer nor financial consultant, but a skilled chronicler making visible our collective desires, rage, and shame. With \u003cem>Sweat\u003c/em>, she dares us to reconnect to our common ground before it’s too late.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sweat’ runs through Oct. 21 at A.C.T.’s Geary Theater. \u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat.highResolutionDisplay.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "8-halloween-experiences-in-the-bay-area-to-scare-your-pants-off",
"title": "8 Halloween Experiences in the Bay Area to Scare Your Pants Off",
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"headTitle": "8 Halloween Experiences in the Bay Area to Scare Your Pants Off | KQED",
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"content": "\u003cp>Christmas might get most of the holiday-spectacle hype, but Halloween inspires far more creative performances. Looking to face your fears? Here’s a roundup of some of the Bay Area’s spookiest shows and activities outside of the usual haunted-house-pumpkin-patch-costume-contest circuit, ranging from campy to creepy to downright bloodcurdling.\u003c/p>\n\u003cfigure id=\"attachment_13842309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842309\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-800x514.jpg\" alt=\"A performer at Terror Vault.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-520x334.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A performer at Terror Vault. \u003ccite>(Sloane Kanter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Terror Vault\u003c/h2>\n\u003cp>\u003cb>The Old Mint, 88 Fifth St., San Francisco)\u003cbr>\nOct. 10–Nov. 3\u003c/b>\u003cbr>\n\u003ca href=\"https://www.intothedarksf.com/\">Details here\u003c/a>\u003c/p>\n\u003cp>Leave it to legendary horror enthusiast and producer Joshua Grannell, a.k.a. Peaches Christ, to team with truly twisted talent for a haunted attraction that could literally only happen in San Francisco. Located in the historic Old San Francisco Mint, Terror Vault is an immersive theatrical experience lasting around 45 minutes long, featuring some of SF’s fiercest underground performers—and a narrative based partly in fact. Meanwhile, Dead Zone is a lighter and kid-friendly (ages 10+) game of zombie tag with a scavenger-hunt component. With production design by David Mazochi (David Flower Productions), scripting by Christ, and operations support by Non Plus Ultra, this collaborative spectacle will be a Halloween highlight.\u003c/p>\n\u003cfigure id=\"attachment_13842064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842064\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-800x683.jpg\" alt=\"\" width=\"800\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-768x656.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-960x820.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-520x444.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Master of Terrormonies, Sindie Chopper. \u003ccite>(Natalie Ashodian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Terror-rama III: Dead the Whole Time\u003c/h2>\n\u003cp>\u003cb>Awesome Theatre, Pianofight, 144 Taylor St., San Francisco\u003cbr>\nOct. 12–27\u003c/b>\u003cbr>\n\u003ca href=\"https://awesometheatre.org/2018/04/30/terror-rama-iii-dead-the-whole-time/\">Details here\u003c/a>\u003c/p>\n\u003cp>Sit in a dark room with a duet of diabolical new works: “My Cannibal Summer,” featuring a star-crossed Cannibal romance, and “The Suffered,” a ghost story, written by Awesome Theatre members Claire Rice and Colin Johnson, and hosted by Master of Terrormonies, Sindie Chopper. TERROR-RAMA is a biennial event, with the in-between year used for raw readings and focused play development, making Awesome Theatre’s contribution to the late-night, double feature undoubtedly worth the wait.\u003c/p>\n\u003cfigure id=\"attachment_13842073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842073\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Journey to the End of the Night players roaming the city. \u003ccite>(Tom Lowenthal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Journey to the End of the Night\u003c/h2>\n\u003cp>\u003cb>UN Plaza, 355 McAllister St., San Francisco\u003cbr>\nOct. 13, 2018, 5pm–10 pm\u003c/b>\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/journey-to-the-end-of-the-night-2018-san-francisco-tickets-48943121193\">Details here\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For over a decade, the ever-evolving Journey to the End of the Night has taken over the streets of San Francisco to reveal its hidden corners for legions of casual LARPers. This year’s fantastical journey takes the night sky as its muse, as participants assume the identities of the \u003cem>Nox Aeterna,\u003c/em> “a secretive sect of night worshippers.” Attendees roam from checkpoint to checkpoint, collecting stamps and avoiding capture by the nemesis “Sol Keepers,” while reveling in the imaginative mini-performances and game stations set up by volunteer creators along the way. It’s free to play, but pre-registration is required.\u003c/p>\n\u003cfigure id=\"attachment_13842068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mr. Nobody and friends at Mystic Midway. \u003ccite>(Skot Kuiper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mr. Nobody’s Mystic Midway\u003c/h2>\n\u003cp>\u003cb>Winchester Mystery House, 525 S. Winchester Blvd., San Jose\u003cbr>\nSelect dates through Oct. 31\u003c/b>\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/249033399088576/\">Details here\u003c/a>\u003c/p>\n\u003cp>If you’ve been waiting for the right time to avail yourself of the curiosities of the \u003ca href=\"https://winchestermysteryhouse.com/buy-tickets/\">Winchester Mystery House\u003c/a>, this guest attraction offers a perfect excuse. In addition to the regular offerings of the Mystery House, including the Hallowe’en Candlelight tour, October brings Mr. Nobody’s Mystic Midway, the latest “pop-up” performance by immersive theater company The Mystic Midway. Located in the gardens, this “twilight carnival” includes a variety show, midway games, an interactive quest component, and a chance to get your (mis)fortune told, with tokens purchased on \u003ca href=\"https://www.etsy.com/listing/630267636/mystic-midway-5-token-voucher\">etsy\u003c/a> or on site.\u003c/p>\n\u003cfigure id=\"attachment_13842070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nurse Ratchet ratchets up the horror at Bloodslam. \u003ccite>(Mark Johnston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bloodslam\u003c/h2>\n\u003cp>\u003cb>Oakland Metro Operahouse, 22 Second St., Oakland\u003cbr>\nOct. 19\u003c/b>\u003cbr>\n\u003ca href=\"http://www.birdswillfall.com/\">Details here\u003c/a>\u003c/p>\n\u003cp>Perhaps \u003cem>the\u003c/em> bloodiest and bawdiest ticket in town, theatrical wrestling sensation Hoodslam brings back Bloodslam—a horror homage—to the ring at the Oakland Metro. Join Hoodslam favorites (not confirmed but likely: Nurse Ratchet, Drugs Bunny, Brittany Wonder, and El Chupacabra) plus Broseph Joe Brody as ring announcer for a three-act blood brawl of monstrous proportions. Who will crawl out of the ring, or for that matter, the venue, alive? Pro tip: don’t wear your newest threads, and, as always, “\u003ca href=\"https://brownbutter-wrestling.myshopify.com/products/hoodslam-dont-bring-your-fn-kids\" target=\"_blank\" rel=\"noopener\">don’t bring your f’n kids\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13842065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zanna Wei performs in Evil Dead the Musical in San Jose. \u003ccite>(Evan Cardell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Evil Dead the Musical’\u003c/h2>\n\u003cp>\u003cb>San Jose Stage Company, 490 S First St., San Jose\u003cbr>\nOct. 25-Nov. 4\u003c/b>\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/1731265276894113/\">Details here\u003c/a>\u003c/p>\n\u003cp>Who could have guessed the 1981 low-budget cult classic \u003cem>The Evil Dead\u003c/em> would have such staying power? For Matty Gregg of Roshi Entertainment, the movie has long been a favorite, making ushering in a tech-savvy stage production of tongue-in-cheek musical homage, \u003cem>Evil Dead the Musical\u003c/em>, something of a mission. Combining cinematic visuals and a “virtual” set displayed on a giant 28’ x 8’ backdrop screen and 16’ x 16’ video floor, plus a requisite “splash zone” for the truly intrepid, this combination of movie magic and musical theater could be a Silicon Valley tradition in the making.\u003c/p>\n\u003cfigure id=\"attachment_13842072\" class=\"wp-caption aligncenter\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/kat_credit_MikeLloydPhotography.jpg\" alt=\"\" width=\"432\" height=\"339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/kat_credit_MikeLloydPhotography.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/kat_credit_MikeLloydPhotography-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/kat_credit_MikeLloydPhotography-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/kat_credit_MikeLloydPhotography-375x294.jpg 375w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Kat Robichaud is ready to show you a good time! \u003ccite>(Mike Lloyd Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Very Scary Misfit Cabaret\u003c/h2>\n\u003cp>\u003cb>Z Space, 450 Florida St., San Francisco\u003cbr>\nOct. 25-Nov. 3\u003c/b>\u003cbr>\n\u003ca href=\"http://www.zspace.org/scarymisfit\">Details here\u003c/a>\u003c/p>\n\u003cp>Kat Robichaud is practically synonymous with spooky, sexy entertainment, as her latest Misfit Cabaret will prove. A variety showcase of music, circus, burlesque and blood held on the spacious mainstage of Z Space, Misfit Cabaret provides a Halloween refuge of camp and creepshow, featuring house band the Darling Misfits, musician Brenden Getzell, Marilyn Manson drag with Johnny Rockitt, machete burlesque with Mojo De Ville, aerials with Maia Adams and more.\u003c/p>\n\u003cfigure id=\"attachment_13842071\" class=\"wp-caption aligncenter\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Blind-Scream_credit_WillBucquoy.jpeg\" alt=\"\" width=\"432\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Blind-Scream_credit_WillBucquoy.jpeg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Blind-Scream_credit_WillBucquoy-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Blind-Scream_credit_WillBucquoy-240x253.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Blind-Scream_credit_WillBucquoy-375x396.jpeg 375w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Are you ready to scream? \u003ccite>(Will Bucquoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Blind Scream\u003c/h2>\n\u003cp>\u003cb>SOMO Village, 500 Valley House Drive, Rohnert Park\u003cbr>\nOct. 6–31\u003c/b>\u003cbr>\n\u003ca href=\"http://www.blindscream.com/\">Details here\u003c/a>\u003c/p>\n\u003cp>We couldn’t resist including one “traditional” haunted house here, and Blind Scream, celebrating its ten-year anniversary, seems like the perfect choice. A joint venture between Drew Dominguez and Judy Groverman Walker, Blind Scream makes notable use of Dominguez’ long career (over 40 years) of building haunted houses all over California, including at Knotts Scary Farm. In addition to two original haunted spaces, Doc’s Horrortorium and Lil Horrus’s Fun House, Blind Scream also offers the ultimate in fear, called the Last Ride. For a mere five dollars, you can climb inside a coffin, shut the lid, and get a joyride to the cemetery where dirt is shoveled atop the coffin and you’re left (temporarily) for the worms. Now that’s embracing your fears!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Celebrate Halloween season with the Bay Area’s spookiest shows, events and performances.",
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"title": "8 Halloween Experiences in the Bay Area to Scare Your Pants Off | KQED",
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"headline": "8 Halloween Experiences in the Bay Area to Scare Your Pants Off",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christmas might get most of the holiday-spectacle hype, but Halloween inspires far more creative performances. Looking to face your fears? Here’s a roundup of some of the Bay Area’s spookiest shows and activities outside of the usual haunted-house-pumpkin-patch-costume-contest circuit, ranging from campy to creepy to downright bloodcurdling.\u003c/p>\n\u003cfigure id=\"attachment_13842309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842309\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-800x514.jpg\" alt=\"A performer at Terror Vault.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/TerrorVault.Bat_.SloaneKante-520x334.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A performer at Terror Vault. \u003ccite>(Sloane Kanter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Terror Vault\u003c/h2>\n\u003cp>\u003cb>The Old Mint, 88 Fifth St., San Francisco)\u003cbr>\nOct. 10–Nov. 3\u003c/b>\u003cbr>\n\u003ca href=\"https://www.intothedarksf.com/\">Details here\u003c/a>\u003c/p>\n\u003cp>Leave it to legendary horror enthusiast and producer Joshua Grannell, a.k.a. Peaches Christ, to team with truly twisted talent for a haunted attraction that could literally only happen in San Francisco. Located in the historic Old San Francisco Mint, Terror Vault is an immersive theatrical experience lasting around 45 minutes long, featuring some of SF’s fiercest underground performers—and a narrative based partly in fact. Meanwhile, Dead Zone is a lighter and kid-friendly (ages 10+) game of zombie tag with a scavenger-hunt component. With production design by David Mazochi (David Flower Productions), scripting by Christ, and operations support by Non Plus Ultra, this collaborative spectacle will be a Halloween highlight.\u003c/p>\n\u003cfigure id=\"attachment_13842064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842064\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-800x683.jpg\" alt=\"\" width=\"800\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-768x656.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-960x820.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian-520x444.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Your-master-of-Terrormonies_SindieChopper_PhotoCredit_NatalieAshodian.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Master of Terrormonies, Sindie Chopper. \u003ccite>(Natalie Ashodian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Terror-rama III: Dead the Whole Time\u003c/h2>\n\u003cp>\u003cb>Awesome Theatre, Pianofight, 144 Taylor St., San Francisco\u003cbr>\nOct. 12–27\u003c/b>\u003cbr>\n\u003ca href=\"https://awesometheatre.org/2018/04/30/terror-rama-iii-dead-the-whole-time/\">Details here\u003c/a>\u003c/p>\n\u003cp>Sit in a dark room with a duet of diabolical new works: “My Cannibal Summer,” featuring a star-crossed Cannibal romance, and “The Suffered,” a ghost story, written by Awesome Theatre members Claire Rice and Colin Johnson, and hosted by Master of Terrormonies, Sindie Chopper. TERROR-RAMA is a biennial event, with the in-between year used for raw readings and focused play development, making Awesome Theatre’s contribution to the late-night, double feature undoubtedly worth the wait.\u003c/p>\n\u003cfigure id=\"attachment_13842073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842073\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/journey_skyrim-with-player_credit_TomLowenthal.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Journey to the End of the Night players roaming the city. \u003ccite>(Tom Lowenthal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Journey to the End of the Night\u003c/h2>\n\u003cp>\u003cb>UN Plaza, 355 McAllister St., San Francisco\u003cbr>\nOct. 13, 2018, 5pm–10 pm\u003c/b>\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/journey-to-the-end-of-the-night-2018-san-francisco-tickets-48943121193\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For over a decade, the ever-evolving Journey to the End of the Night has taken over the streets of San Francisco to reveal its hidden corners for legions of casual LARPers. This year’s fantastical journey takes the night sky as its muse, as participants assume the identities of the \u003cem>Nox Aeterna,\u003c/em> “a secretive sect of night worshippers.” Attendees roam from checkpoint to checkpoint, collecting stamps and avoiding capture by the nemesis “Sol Keepers,” while reveling in the imaginative mini-performances and game stations set up by volunteer creators along the way. It’s free to play, but pre-registration is required.\u003c/p>\n\u003cfigure id=\"attachment_13842068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MysticMidway_MrNobodyAndAttendants_SkotKuiper.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mr. Nobody and friends at Mystic Midway. \u003ccite>(Skot Kuiper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mr. Nobody’s Mystic Midway\u003c/h2>\n\u003cp>\u003cb>Winchester Mystery House, 525 S. Winchester Blvd., San Jose\u003cbr>\nSelect dates through Oct. 31\u003c/b>\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/249033399088576/\">Details here\u003c/a>\u003c/p>\n\u003cp>If you’ve been waiting for the right time to avail yourself of the curiosities of the \u003ca href=\"https://winchestermysteryhouse.com/buy-tickets/\">Winchester Mystery House\u003c/a>, this guest attraction offers a perfect excuse. In addition to the regular offerings of the Mystery House, including the Hallowe’en Candlelight tour, October brings Mr. Nobody’s Mystic Midway, the latest “pop-up” performance by immersive theater company The Mystic Midway. Located in the gardens, this “twilight carnival” includes a variety show, midway games, an interactive quest component, and a chance to get your (mis)fortune told, with tokens purchased on \u003ca href=\"https://www.etsy.com/listing/630267636/mystic-midway-5-token-voucher\">etsy\u003c/a> or on site.\u003c/p>\n\u003cfigure id=\"attachment_13842070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NurseRatchet_credit_markjohnston.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nurse Ratchet ratchets up the horror at Bloodslam. \u003ccite>(Mark Johnston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bloodslam\u003c/h2>\n\u003cp>\u003cb>Oakland Metro Operahouse, 22 Second St., Oakland\u003cbr>\nOct. 19\u003c/b>\u003cbr>\n\u003ca href=\"http://www.birdswillfall.com/\">Details here\u003c/a>\u003c/p>\n\u003cp>Perhaps \u003cem>the\u003c/em> bloodiest and bawdiest ticket in town, theatrical wrestling sensation Hoodslam brings back Bloodslam—a horror homage—to the ring at the Oakland Metro. Join Hoodslam favorites (not confirmed but likely: Nurse Ratchet, Drugs Bunny, Brittany Wonder, and El Chupacabra) plus Broseph Joe Brody as ring announcer for a three-act blood brawl of monstrous proportions. Who will crawl out of the ring, or for that matter, the venue, alive? Pro tip: don’t wear your newest threads, and, as always, “\u003ca href=\"https://brownbutter-wrestling.myshopify.com/products/hoodslam-dont-bring-your-fn-kids\" target=\"_blank\" rel=\"noopener\">don’t bring your f’n kids\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13842065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EVILDEADTHEMUSICAL_credit_EvanCardell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zanna Wei performs in Evil Dead the Musical in San Jose. \u003ccite>(Evan Cardell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Evil Dead the Musical’\u003c/h2>\n\u003cp>\u003cb>San Jose Stage Company, 490 S First St., San Jose\u003cbr>\nOct. 25-Nov. 4\u003c/b>\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/1731265276894113/\">Details here\u003c/a>\u003c/p>\n\u003cp>Who could have guessed the 1981 low-budget cult classic \u003cem>The Evil Dead\u003c/em> would have such staying power? For Matty Gregg of Roshi Entertainment, the movie has long been a favorite, making ushering in a tech-savvy stage production of tongue-in-cheek musical homage, \u003cem>Evil Dead the Musical\u003c/em>, something of a mission. Combining cinematic visuals and a “virtual” set displayed on a giant 28’ x 8’ backdrop screen and 16’ x 16’ video floor, plus a requisite “splash zone” for the truly intrepid, this combination of movie magic and musical theater could be a Silicon Valley tradition in the making.\u003c/p>\n\u003cfigure id=\"attachment_13842072\" class=\"wp-caption aligncenter\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842072\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/kat_credit_MikeLloydPhotography.jpg\" alt=\"\" width=\"432\" height=\"339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/kat_credit_MikeLloydPhotography.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/kat_credit_MikeLloydPhotography-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/kat_credit_MikeLloydPhotography-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/kat_credit_MikeLloydPhotography-375x294.jpg 375w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Kat Robichaud is ready to show you a good time! \u003ccite>(Mike Lloyd Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Very Scary Misfit Cabaret\u003c/h2>\n\u003cp>\u003cb>Z Space, 450 Florida St., San Francisco\u003cbr>\nOct. 25-Nov. 3\u003c/b>\u003cbr>\n\u003ca href=\"http://www.zspace.org/scarymisfit\">Details here\u003c/a>\u003c/p>\n\u003cp>Kat Robichaud is practically synonymous with spooky, sexy entertainment, as her latest Misfit Cabaret will prove. A variety showcase of music, circus, burlesque and blood held on the spacious mainstage of Z Space, Misfit Cabaret provides a Halloween refuge of camp and creepshow, featuring house band the Darling Misfits, musician Brenden Getzell, Marilyn Manson drag with Johnny Rockitt, machete burlesque with Mojo De Ville, aerials with Maia Adams and more.\u003c/p>\n\u003cfigure id=\"attachment_13842071\" class=\"wp-caption aligncenter\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Blind-Scream_credit_WillBucquoy.jpeg\" alt=\"\" width=\"432\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Blind-Scream_credit_WillBucquoy.jpeg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Blind-Scream_credit_WillBucquoy-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Blind-Scream_credit_WillBucquoy-240x253.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Blind-Scream_credit_WillBucquoy-375x396.jpeg 375w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Are you ready to scream? \u003ccite>(Will Bucquoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Blind Scream\u003c/h2>\n\u003cp>\u003cb>SOMO Village, 500 Valley House Drive, Rohnert Park\u003cbr>\nOct. 6–31\u003c/b>\u003cbr>\n\u003ca href=\"http://www.blindscream.com/\">Details here\u003c/a>\u003c/p>\n\u003cp>We couldn’t resist including one “traditional” haunted house here, and Blind Scream, celebrating its ten-year anniversary, seems like the perfect choice. A joint venture between Drew Dominguez and Judy Groverman Walker, Blind Scream makes notable use of Dominguez’ long career (over 40 years) of building haunted houses all over California, including at Knotts Scary Farm. In addition to two original haunted spaces, Doc’s Horrortorium and Lil Horrus’s Fun House, Blind Scream also offers the ultimate in fear, called the Last Ride. For a mere five dollars, you can climb inside a coffin, shut the lid, and get a joyride to the cemetery where dirt is shoveled atop the coffin and you’re left (temporarily) for the worms. Now that’s embracing your fears!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-kinsey-sicks-take-on-trump-with-irreverent-things-you-shouldnt-say",
"title": "The Kinsey Sicks Take on Trump with Irreverent 'Things You Shouldn't Say'",
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"headTitle": "The Kinsey Sicks Take on Trump with Irreverent ‘Things You Shouldn’t Say’ | KQED",
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"content": "\u003cp>In 2016, Ben Schatz was planning to retire from his drag a cappella group, The Kinsey Sicks, a “beauty shop quartet” that’s been putting on irreverent, politically charged shows since forming in San Francisco in the wake of the AIDS epidemic. Then, on a flight to a gig in Boise, Idaho, he connected to airplane wi-fi and found out that Donald Trump won the presidential election. Schatz quickly realized that his work was not over.\u003c/p>\n\u003cp>“As a member of a community that was deemed at best dispensable—and a group who had prejudice against us exploited for political gains—I can’t separate myself from the others who are being viewed as dispensable and exploitable,” he says of Trump’s anti-immigrant and misogynistic rhetoric.\u003c/p>\n\u003cfigure id=\"attachment_13842132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842132\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-800x540.png\" alt=\"The Kinsey Sicks are Winnie (Nathan Marken), Rachel (Ben Schatz), Trixie (Jeff Manabat) and Trampolina (Spencer Brown). \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-768x518.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-1200x810.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-1180x796.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-960x648.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-240x162.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-375x253.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-520x351.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux.png 1337w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Kinsey Sicks are Winnie (Nathan Marken), Rachel (Ben Schatz), Trixie (Jeff Manabat) and Trampolina (Spencer Brown). \u003ccite>(Maurice Molyneaux )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Kinseys emerged from a dark time in American history. Schatz, a graduate of Harvard Law School, moved to San Francisco in the ’80s to work in the emerging gay rights movement at a time when HIV and AIDS were ravaging the LGBTQ community. (In the 1990s, he served as the director of the Gay and Lesbian Medical Association and sat on Bill Clinton’s Advisory Council on AIDS.)\u003c/p>\n\u003cp>The Kinsey Sicks formed in 1993 after someone approached them at a Bette Milder concert, where they were dressed in drag as the \u003ca href=\"https://www.youtube.com/watch?v=OfWc52smNs8\" target=\"_blank\" rel=\"noopener\">Andrews Sisters\u003c/a>, and invited them to perform at an upcoming event. All four friends happened to have musical theater experience and got to work that night. Since then, they’ve produced several critically acclaimed shows that fuse campy drag and a cappella singing, dirty jokes and political satire—including a hit Off-Broadway production in 2001. The group was so successful that it became Schatz’ full time career in 1999.\u003c/p>\n\u003cp>The Kinsey Sicks’ 25-year-anniversary show, \u003cem>Things You Shouldn’t Say\u003c/em>, comes to San Francisco’s \u003ca href=\"https://www.marinesmemorialtheatre.com/calendar/theatreevents/the-kinsey-sicks\" target=\"_blank\" rel=\"noopener\">Marines’ Memorial Theater\u003c/a> on Oct. 5-6. It’ll also likely be Schatz’ final performance in San Francisco; he says he’ll soon retire from his role as Rachel and continue behind the scenes as the group’s lead writer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve always been a topical group,” says Schatz. “We’ve always mixed silliness and ridiculousness with social commentary. There’s a lot to laugh at, and there’s a lot to weep at. And we always have included both in the show. We take people a constantly unexpected journey.”\u003c/p>\n\u003cp>https://youtu.be/o7WdG299WQA\u003c/p>\n\u003cp>Schatz’ work on the front lines of the gay rights movement continues inform the Kinsey’s biting satire in \u003cem>Things You Shouldn’t Say\u003c/em>, which contains political commentary about as subtle as Rachel’s glittery blue eye shadow. The poster for the show features the four queens ducking from Trump as a hurling, orange comet, and throughout the performance, they embrace the role of drag queens as irreverent truth-tellers who express what others are afraid to.\u003c/p>\n\u003cp>“Drag is many different things, and we’ve been long associated with the more confrontational and challenging element of drag rather than the Disney-fied version you might see on something like \u003cem>RuPaul’s Drag Race\u003c/em>,” Schatz says. “We got some things to say.”\u003c/p>\n\u003cp>In “The Trump Medley” from \u003cem>Things You Shouldn’t Say\u003c/em>, for instance, Trampolina (Spencer Brown) sings to the tune of \u003cem>The Addams Family\u003c/em> theme song, “His house is a museum / To his narcissis-eum / A Nazi’s carpe diem!” In the show’s \u003ca href=\"https://www.youtube.com/watch?v=5JMyLgLgQ0c\" target=\"_blank\" rel=\"noopener\">titular tune\u003c/a>, the Kinseys lampoon the hypocrisy of various members of society, not least politicians: “I’ll send your kind into war / I just screwed an intern on the floor / I have no idea what I voted for,” sings Winnie (Nathan Marken).\u003c/p>\n\u003cp>“Our favorite saying is ‘no refunds,'” says Schatz of those who come to a Kinsey Sicks show expecting Cher impersonations.\u003c/p>\n\u003cp>https://youtu.be/qnEHzeN0kHI\u003c/p>\n\u003cp>Beyond its bouffants and Trump jokes, \u003cem>Things You Shouldn’t Say \u003c/em>hits some raw, emotional points, including Schatz’ monologue, “We Are Not the Ones Who Should be Ashamed.” In hushed tones, he wistfully recalls the surreal experience of watching gay men die of AIDS in San Francisco while mainstream media and politicians ignored the epidemic, seguing into a powerful call to take action in today’s political moment.\u003c/p>\n\u003cp>The friends Schatz lost to AIDS and HIV (including two original Kinsey Sicks members) continue to give him purpose as an artist. “I just don’t see art being in a vacuum; art exists in the world,” says Schatz. “And there are tons of dead gay men who would’ve been amazing artists if they had been allowed to survive if the government gave a crap about the AIDS crisis.”\u003c/p>\n\u003cp>Of his own longevity, he reflects, “To be able to have had a 25 year career of politically controversial, challenging, provocative art is an incredible privilege.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>\u003cbr>\nThe Kinsey Sicks’\u003c/em> Things You Shouldn’t Say \u003cem>is on view at Marines’ Memorial Theater on Oct. 5-6. Details \u003ca href=\"https://www.marinesmemorialtheatre.com/calendar/theatreevents/the-kinsey-sicks\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The drag a cappella quartet's hilarious yet heartrending 25th anniversary show comes to Marines' Memorial Theater on Oct. 5-6. ",
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"title": "The Kinsey Sicks Take on Trump with Irreverent 'Things You Shouldn't Say' | KQED",
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"headline": "The Kinsey Sicks Take on Trump with Irreverent 'Things You Shouldn't Say'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2016, Ben Schatz was planning to retire from his drag a cappella group, The Kinsey Sicks, a “beauty shop quartet” that’s been putting on irreverent, politically charged shows since forming in San Francisco in the wake of the AIDS epidemic. Then, on a flight to a gig in Boise, Idaho, he connected to airplane wi-fi and found out that Donald Trump won the presidential election. Schatz quickly realized that his work was not over.\u003c/p>\n\u003cp>“As a member of a community that was deemed at best dispensable—and a group who had prejudice against us exploited for political gains—I can’t separate myself from the others who are being viewed as dispensable and exploitable,” he says of Trump’s anti-immigrant and misogynistic rhetoric.\u003c/p>\n\u003cfigure id=\"attachment_13842132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842132\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-800x540.png\" alt=\"The Kinsey Sicks are Winnie (Nathan Marken), Rachel (Ben Schatz), Trixie (Jeff Manabat) and Trampolina (Spencer Brown). \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-768x518.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-1200x810.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-1180x796.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-960x648.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-240x162.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-375x253.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux-520x351.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Ensemble_st_MMolyneaux.png 1337w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Kinsey Sicks are Winnie (Nathan Marken), Rachel (Ben Schatz), Trixie (Jeff Manabat) and Trampolina (Spencer Brown). \u003ccite>(Maurice Molyneaux )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Kinseys emerged from a dark time in American history. Schatz, a graduate of Harvard Law School, moved to San Francisco in the ’80s to work in the emerging gay rights movement at a time when HIV and AIDS were ravaging the LGBTQ community. (In the 1990s, he served as the director of the Gay and Lesbian Medical Association and sat on Bill Clinton’s Advisory Council on AIDS.)\u003c/p>\n\u003cp>The Kinsey Sicks formed in 1993 after someone approached them at a Bette Milder concert, where they were dressed in drag as the \u003ca href=\"https://www.youtube.com/watch?v=OfWc52smNs8\" target=\"_blank\" rel=\"noopener\">Andrews Sisters\u003c/a>, and invited them to perform at an upcoming event. All four friends happened to have musical theater experience and got to work that night. Since then, they’ve produced several critically acclaimed shows that fuse campy drag and a cappella singing, dirty jokes and political satire—including a hit Off-Broadway production in 2001. The group was so successful that it became Schatz’ full time career in 1999.\u003c/p>\n\u003cp>The Kinsey Sicks’ 25-year-anniversary show, \u003cem>Things You Shouldn’t Say\u003c/em>, comes to San Francisco’s \u003ca href=\"https://www.marinesmemorialtheatre.com/calendar/theatreevents/the-kinsey-sicks\" target=\"_blank\" rel=\"noopener\">Marines’ Memorial Theater\u003c/a> on Oct. 5-6. It’ll also likely be Schatz’ final performance in San Francisco; he says he’ll soon retire from his role as Rachel and continue behind the scenes as the group’s lead writer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve always been a topical group,” says Schatz. “We’ve always mixed silliness and ridiculousness with social commentary. There’s a lot to laugh at, and there’s a lot to weep at. And we always have included both in the show. We take people a constantly unexpected journey.”\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/o7WdG299WQA'\n title='//www.youtube.com/embed/o7WdG299WQA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Schatz’ work on the front lines of the gay rights movement continues inform the Kinsey’s biting satire in \u003cem>Things You Shouldn’t Say\u003c/em>, which contains political commentary about as subtle as Rachel’s glittery blue eye shadow. The poster for the show features the four queens ducking from Trump as a hurling, orange comet, and throughout the performance, they embrace the role of drag queens as irreverent truth-tellers who express what others are afraid to.\u003c/p>\n\u003cp>“Drag is many different things, and we’ve been long associated with the more confrontational and challenging element of drag rather than the Disney-fied version you might see on something like \u003cem>RuPaul’s Drag Race\u003c/em>,” Schatz says. “We got some things to say.”\u003c/p>\n\u003cp>In “The Trump Medley” from \u003cem>Things You Shouldn’t Say\u003c/em>, for instance, Trampolina (Spencer Brown) sings to the tune of \u003cem>The Addams Family\u003c/em> theme song, “His house is a museum / To his narcissis-eum / A Nazi’s carpe diem!” In the show’s \u003ca href=\"https://www.youtube.com/watch?v=5JMyLgLgQ0c\" target=\"_blank\" rel=\"noopener\">titular tune\u003c/a>, the Kinseys lampoon the hypocrisy of various members of society, not least politicians: “I’ll send your kind into war / I just screwed an intern on the floor / I have no idea what I voted for,” sings Winnie (Nathan Marken).\u003c/p>\n\u003cp>“Our favorite saying is ‘no refunds,'” says Schatz of those who come to a Kinsey Sicks show expecting Cher impersonations.\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/qnEHzeN0kHI'\n title='//www.youtube.com/embed/qnEHzeN0kHI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beyond its bouffants and Trump jokes, \u003cem>Things You Shouldn’t Say \u003c/em>hits some raw, emotional points, including Schatz’ monologue, “We Are Not the Ones Who Should be Ashamed.” In hushed tones, he wistfully recalls the surreal experience of watching gay men die of AIDS in San Francisco while mainstream media and politicians ignored the epidemic, seguing into a powerful call to take action in today’s political moment.\u003c/p>\n\u003cp>The friends Schatz lost to AIDS and HIV (including two original Kinsey Sicks members) continue to give him purpose as an artist. “I just don’t see art being in a vacuum; art exists in the world,” says Schatz. “And there are tons of dead gay men who would’ve been amazing artists if they had been allowed to survive if the government gave a crap about the AIDS crisis.”\u003c/p>\n\u003cp>Of his own longevity, he reflects, “To be able to have had a 25 year career of politically controversial, challenging, provocative art is an incredible privilege.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>\u003cbr>\nThe Kinsey Sicks’\u003c/em> Things You Shouldn’t Say \u003cem>is on view at Marines’ Memorial Theater on Oct. 5-6. Details \u003ca href=\"https://www.marinesmemorialtheatre.com/calendar/theatreevents/the-kinsey-sicks\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Artistic Director Pam MacKinnon on ACT’s Season of 'Big American Plays'",
"headTitle": "New Artistic Director Pam MacKinnon on ACT’s Season of ‘Big American Plays’ | KQED",
"content": "\u003cp>Buffalo, New York is known as a theater town: a frequent stop on the way to or from Broadway due to its close proximity to New York City, and a city that maintains a strong season of homegrown shows. But Buffalo is also a “rust belt” city hit hard by the deindustrialization of the region. While it’s making a quiet comeback as a stronghold of entrepreneurship, its hard times won’t be forgotten anytime soon.\u003c/p>\n\u003cp>For Pam MacKinnon, growing up from the age of 10 in Erie County, this combination of can-do tenacity and arts appreciation has been a constant in life since she was in junior high school, in Clarence, New York. When loss of funding caused her school’s drama club to disband, one of her classmates, Will Crosby, took the reins and started his own after-school theater across the street in a United Methodist Church, wrangling MacKinnon and other members of the defunct drama department to put on a season of shows on their own until they graduated to High School.\u003c/p>\n\u003cp>This was the first time MacKinnon, the new artistic director for American Conservatory Theater (ACT), found herself, in her words, the “beneficiary of someone else’s entrepreneurial spirit.” It wouldn’t be her last. After a stint in academia, studying for a PhD in Political Science she never received, MacKinnon moved to New York to pursue theater, becoming one of the first go-to directors of New York’s Clubbed Thumb and growing in reputation as a freelance director on and off Broadway.\u003c/p>\n\u003cp>Among her achievements since are a Tony for her directing of \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, an Obie for directing Bruce Norris’ \u003cem>Clybourne Park\u003c/em>, and helping usher the musical \u003cem>Amélie\u003c/em> to the Broadway stage. ACT will be her first permanent “artistic home,” as she calls it—though she’s currently wrapping up a pair of freelance projects, including the world premiere of Norris’ new play \u003cem>Downstate\u003c/em>, which opened at Steppenwolf Theatre on Sept. 20.\u003c/p>\n\u003cfigure id=\"attachment_13841534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Nottage, Pulitzer-winning playwright of ‘Sweat.’ \u003ccite>(John D. & Catherine T. MacArthur Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the first mainstage production of MacKinnon’s inaugural season at ACT, Lynn Nottage’s \u003cem>Sweat\u003c/em> not only speaks to the issues of our day, but also with MacKinnon’s own background. Set in the union town of Reading, Pennsylvania, the Pulitzer-winning \u003cem>Sweat\u003c/em> explores labor issues, the forced decline of American manufacturing, racial identity, and how the personal and political intersect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although set in the early 2000s, the play’s combination of concerns is all too relevant to even the least politicized among us. It certainly feels relevant to MacKinnon, whose Buffalo roots and current union membership (she is the president of the Stage Directors and Choreographers Society) give \u003cem>Sweat \u003c/em>a personal resonance as well.\u003c/p>\n\u003cp>“\u003cem>Sweat\u003c/em> is a future classic American play… that I think will be done 50 years from now,” MacKinnon says. “It tells a political story on such immediate personal terms that you can read it as an ‘American’ story, but also as a family story.”\u003c/p>\n\u003cfigure id=\"attachment_13841533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-960x720.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-520x390.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble cast of Lynn Nottage’s ‘Sweat’ in rehearsal at American Conservatory Theater. \u003ccite>(Beryl Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking beyond the season opener, MacKinnon is eager to see which shows in the upcoming season will appeal to Bay Area audiences most. A robust lineup of what she calls “big American plays,” the season includes works by younger contemporary playwrights such as Jacklyn Backhaus (whose gender-swapping Manifest Destiny sendup \u003cem>Men in Boats\u003c/em> opens in October at the Strand) and San Francisco’s own Lauren Yee (whose basketball drama \u003cem>The Great Leap\u003c/em> hits the Geary Stage in March 2019).\u003c/p>\n\u003cp>Even that classic of European absurdism, \u003cem>Rhinoceros\u003c/em>, scheduled for May and June of 2019, feels contextually very “American” to MacKinnon, with its “mob mentality” and “group of people…blindly participating in something that is ridiculous.” Her own directorial debut as ACT’s artistic director will be of Edward Albee’s \u003cem>Seascape\u003c/em> in January 2019.\u003c/p>\n\u003cp>“Somebody said they felt that (the season) was lower-case ‘p’ political, but also playful. That those two things were in all the pieces,” she muses. “I also think the theme of transition is in all of them, which makes sense given that I personally exploded my own life, very happily, to move to San Francisco after 24 years in New York. So transition, exploration, and discovery is also in all of these pieces.”\u003c/p>\n\u003cp>As part of that transition, MacKinnon is particularly excited about facilitating the multiple spaces of ACT, as well as the greater Bay Area theater community as a whole, to “be in conversation with each other.” On a basic level, that includes producing shows across ACT’s spaces that build on each other’s momentum, such as having Lauren Yee’s \u003cem>Hookman \u003c/em>performed in October by the Young Conservatory, anticipating the mainstage production of \u003cem>The Great Leap\u003c/em> in March.\u003c/p>\n\u003cp>It also includes reaching out to theaters and theater-makers in order to create larger frames for certain plays and playwrights. For example, inviting the Magic Theatre’s Loretta Greco to direct \u003cem>Sweat\u003c/em> creates an immediate bridge to that audience, followed by Greco and MacKinnon’s joint plan to produce two of Mfoniso Udofia’s plays in concert with each other: first \u003cem>Her Portmanteau\u003c/em>, at ACT in February 2019, followed a month later by \u003cem>In Old Age\u003c/em> at the Magic. As Parts Four and Five of Udofia’s ambitious nine-play “Ufot Cycle” (Parts One and Three played at the Magic in 2016), the back-to-back plays will hopefully inspire future collaborative productions on a Bay Area-wide scale.\u003c/p>\n\u003cfigure id=\"attachment_13841536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-960x720.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-520x390.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble cast of Lynn Nottage’s ‘Sweat’ in rehearsal at American Conservatory Theater. \u003ccite>(Beryl Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One person MacKinnon is particularly excited to welcome to the Bay Area is Berkeley Repertory Theatre’s incoming artistic director (and former ACT associate artistic director) Johanna Pfaelzer, who will take the reins from Tony Taccone in September 2019. “She and I go way back,” MacKinnon says, “so I’m super excited about [the possibility of] having Berkeley Rep and ACT work in concert.”\u003c/p>\n\u003cp>Even in this, MacKinnon’s small-town roots and stick-to-it-ness shows.\u003c/p>\n\u003cp>“I’m interested in conversations across spaces,” she emphasizes, “and I feel that San Francisco is very welcoming of that kind of stuff…and it’s a (tight-knit) enough community that we can work together.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sweat’ runs through Oct. 21 at the Geary Theater in San Francisco. \u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat.html\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Buffalo, New York is known as a theater town: a frequent stop on the way to or from Broadway due to its close proximity to New York City, and a city that maintains a strong season of homegrown shows. But Buffalo is also a “rust belt” city hit hard by the deindustrialization of the region. While it’s making a quiet comeback as a stronghold of entrepreneurship, its hard times won’t be forgotten anytime soon.\u003c/p>\n\u003cp>For Pam MacKinnon, growing up from the age of 10 in Erie County, this combination of can-do tenacity and arts appreciation has been a constant in life since she was in junior high school, in Clarence, New York. When loss of funding caused her school’s drama club to disband, one of her classmates, Will Crosby, took the reins and started his own after-school theater across the street in a United Methodist Church, wrangling MacKinnon and other members of the defunct drama department to put on a season of shows on their own until they graduated to High School.\u003c/p>\n\u003cp>This was the first time MacKinnon, the new artistic director for American Conservatory Theater (ACT), found herself, in her words, the “beneficiary of someone else’s entrepreneurial spirit.” It wouldn’t be her last. After a stint in academia, studying for a PhD in Political Science she never received, MacKinnon moved to New York to pursue theater, becoming one of the first go-to directors of New York’s Clubbed Thumb and growing in reputation as a freelance director on and off Broadway.\u003c/p>\n\u003cp>Among her achievements since are a Tony for her directing of \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, an Obie for directing Bruce Norris’ \u003cem>Clybourne Park\u003c/em>, and helping usher the musical \u003cem>Amélie\u003c/em> to the Broadway stage. ACT will be her first permanent “artistic home,” as she calls it—though she’s currently wrapping up a pair of freelance projects, including the world premiere of Norris’ new play \u003cem>Downstate\u003c/em>, which opened at Steppenwolf Theatre on Sept. 20.\u003c/p>\n\u003cfigure id=\"attachment_13841534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation--520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/nottage_lynn_credit_John-D.-Catherine-T.-MacArthur-Foundation-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Nottage, Pulitzer-winning playwright of ‘Sweat.’ \u003ccite>(John D. & Catherine T. MacArthur Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the first mainstage production of MacKinnon’s inaugural season at ACT, Lynn Nottage’s \u003cem>Sweat\u003c/em> not only speaks to the issues of our day, but also with MacKinnon’s own background. Set in the union town of Reading, Pennsylvania, the Pulitzer-winning \u003cem>Sweat\u003c/em> explores labor issues, the forced decline of American manufacturing, racial identity, and how the personal and political intersect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although set in the early 2000s, the play’s combination of concerns is all too relevant to even the least politicized among us. It certainly feels relevant to MacKinnon, whose Buffalo roots and current union membership (she is the president of the Stage Directors and Choreographers Society) give \u003cem>Sweat \u003c/em>a personal resonance as well.\u003c/p>\n\u003cp>“\u003cem>Sweat\u003c/em> is a future classic American play… that I think will be done 50 years from now,” MacKinnon says. “It tells a political story on such immediate personal terms that you can read it as an ‘American’ story, but also as a family story.”\u003c/p>\n\u003cfigure id=\"attachment_13841533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-960x720.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker-520x390.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble1_credit_BerylBaker.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble cast of Lynn Nottage’s ‘Sweat’ in rehearsal at American Conservatory Theater. \u003ccite>(Beryl Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking beyond the season opener, MacKinnon is eager to see which shows in the upcoming season will appeal to Bay Area audiences most. A robust lineup of what she calls “big American plays,” the season includes works by younger contemporary playwrights such as Jacklyn Backhaus (whose gender-swapping Manifest Destiny sendup \u003cem>Men in Boats\u003c/em> opens in October at the Strand) and San Francisco’s own Lauren Yee (whose basketball drama \u003cem>The Great Leap\u003c/em> hits the Geary Stage in March 2019).\u003c/p>\n\u003cp>Even that classic of European absurdism, \u003cem>Rhinoceros\u003c/em>, scheduled for May and June of 2019, feels contextually very “American” to MacKinnon, with its “mob mentality” and “group of people…blindly participating in something that is ridiculous.” Her own directorial debut as ACT’s artistic director will be of Edward Albee’s \u003cem>Seascape\u003c/em> in January 2019.\u003c/p>\n\u003cp>“Somebody said they felt that (the season) was lower-case ‘p’ political, but also playful. That those two things were in all the pieces,” she muses. “I also think the theme of transition is in all of them, which makes sense given that I personally exploded my own life, very happily, to move to San Francisco after 24 years in New York. So transition, exploration, and discovery is also in all of these pieces.”\u003c/p>\n\u003cp>As part of that transition, MacKinnon is particularly excited about facilitating the multiple spaces of ACT, as well as the greater Bay Area theater community as a whole, to “be in conversation with each other.” On a basic level, that includes producing shows across ACT’s spaces that build on each other’s momentum, such as having Lauren Yee’s \u003cem>Hookman \u003c/em>performed in October by the Young Conservatory, anticipating the mainstage production of \u003cem>The Great Leap\u003c/em> in March.\u003c/p>\n\u003cp>It also includes reaching out to theaters and theater-makers in order to create larger frames for certain plays and playwrights. For example, inviting the Magic Theatre’s Loretta Greco to direct \u003cem>Sweat\u003c/em> creates an immediate bridge to that audience, followed by Greco and MacKinnon’s joint plan to produce two of Mfoniso Udofia’s plays in concert with each other: first \u003cem>Her Portmanteau\u003c/em>, at ACT in February 2019, followed a month later by \u003cem>In Old Age\u003c/em> at the Magic. As Parts Four and Five of Udofia’s ambitious nine-play “Ufot Cycle” (Parts One and Three played at the Magic in 2016), the back-to-back plays will hopefully inspire future collaborative productions on a Bay Area-wide scale.\u003c/p>\n\u003cfigure id=\"attachment_13841536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-960x720.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker-520x390.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SweatEnsemble2_credit_BerylBaker.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble cast of Lynn Nottage’s ‘Sweat’ in rehearsal at American Conservatory Theater. \u003ccite>(Beryl Baker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One person MacKinnon is particularly excited to welcome to the Bay Area is Berkeley Repertory Theatre’s incoming artistic director (and former ACT associate artistic director) Johanna Pfaelzer, who will take the reins from Tony Taccone in September 2019. “She and I go way back,” MacKinnon says, “so I’m super excited about [the possibility of] having Berkeley Rep and ACT work in concert.”\u003c/p>\n\u003cp>Even in this, MacKinnon’s small-town roots and stick-to-it-ness shows.\u003c/p>\n\u003cp>“I’m interested in conversations across spaces,” she emphasizes, “and I feel that San Francisco is very welcoming of that kind of stuff…and it’s a (tight-knit) enough community that we can work together.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sweat’ runs through Oct. 21 at the Geary Theater in San Francisco. \u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat.html\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'CHURCH,' Crowded Fire Examines Assumptions of Faith",
"headTitle": "In ‘CHURCH,’ Crowded Fire Examines Assumptions of Faith | KQED",
"content": "\u003cp>The genius of the plays of Young Jean Lee is that no matter what your personal opinion of a specific work is, it’s impossible to view one with indifference. It’s a rare playwright who can consider charged topics such as race (\u003cem>The Shipment\u003c/em>), gender privilege (\u003cem>Straight White Men\u003c/em>), and gender identity (\u003cem>Untitled Feminist Show\u003c/em>) and reveal them as fully nuanced topics with fully nuanced humans on either side of their inevitable ideological divide. A line or scene that may have one audience member nodding along in recognition may provoke a recoil of shock in another, but whatever their reaction, neither will walk away without a strong opinion of the experience.\u003c/p>\n\u003cp>Lee’s public meditation on Christian faith, \u003cem>CHURCH\u003c/em>—currently produced by Crowded Fire, and directed by Mina Morita—is a brief slip of a play, clocking in at around 60 minutes. In concept, it portrays a much-abbreviated church service, one that’s over long before the congregation-audience can begin wriggling uncomfortably in their seats or looking longingly at the exits. The basic elements of a Sunday morning churchgoing—liturgical music, earnest sermonizing, a call to prayer—form the foundation of the performance, and it’s clearly a structure familiar to many audience members, with several spontaneously murmuring amen and offering grace at the appropriate times.\u003c/p>\n\u003cfigure id=\"attachment_13841545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Reverend José (Lawrence Radecker) explains it all in ‘CHURCH.’ \u003ccite>(Hillary Goidell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even for a staunch atheist with religion an integral but maddening part of the long-distant past, a condition I share with the playwright, there are moments in \u003cem>CHURCH\u003c/em> that resonate on a personal level. The opening monologue, performed in the dark by Reverend José (Lawrence Radecker), is a pointed observation of the all-too human condition of self-importance and half-hearted armchair activism, directed seemingly specifically to the skeptics.\u003c/p>\n\u003cp>“You claim to care about suffering in the world and take luxurious pleasure in raging against the perpetrators of that suffering,” he admonishes. “But this masturbation-rage helps nothing and no one.” I doubt I’m the only non-believer in the room who feels personally singled out by this merciless deconstruction of the well-intentioned path to hell. And I can’t deny that it’s a scripture I can subscribe to, right up until the moment he concludes with: “The day will come in which the Lord God Almighty comes in a shining blaze of glory, and the knowledge of your shallow heart will cause you to bite through your own tongue with grief,” and in a single sentence everything I might otherwise have agreed with is subverted by holy fear-mongering. It’s a subversion not at all uncommon in Lee’s confrontational aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13841546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841546\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jordan María Don, Alison Whismore, and Nkechi Emeruwa as their Reverend selves in Crowded Fire’s production of ‘CHURCH.’ \u003ccite>(Hillary Goidell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other moments in the play appear tailored to resonate more with the true believers in the room, as a cluster of three female reverends join Radecker onstage, clad in playful floral prints (designed by Alice Ruiz), and offering the assembled congregation heartfelt smiles of welcome, as they take turns at the modest podium set centerstage. The Reverend Jordan (Jordan María Don) invites the audience to offer up prayer requests. The Reverend Nkechi (Nkechi Emeruwa) quotes from Hebrews as the audience murmurs along.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But soon enough the play begins veering into the territory of the absurd. The Reverend Alison (Alison Whismore) smiles impishly as she confesses to all kinds of past perversions, her hair a beguiling Boticelli cascade. She’s followed by Reverend José who delivers another sermon, the main purpose of which seems to be equating the language of the faithful to a passionate torrent of Baroque gibberish.\u003c/p>\n\u003cp>It’s at this point that my own objectivity gives way to the unmistakable sensation of being a bored 10-year-old surrounded by the righteous, surreptitiously kicking the pews and waiting for the final amens. Nothing about the Reverend José’s parable makes sense to me, presumably because it wasn’t written to make sense to \u003cem>anyone\u003c/em>, and herein lies the subversive power of Lee’s piece. No communal experience, she points out, even among the mostly like-minded, is the same for each participant. Through the medium of Reverend Jose’s tortured metaphors of tuna, cactus, and poison, Lee reminds us that we all take different parts of the experience into ourselves and make of it what we will. That’s life, and art, and yes, even religion.\u003c/p>\n\u003cfigure id=\"attachment_13841547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-800x719.jpg\" alt=\"\" width=\"800\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-800x719.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-960x863.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-240x216.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-375x337.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-520x467.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nkechi Emeruwa in a state of ecstatic dance in Crowded Fire’s ‘CHURCH.’ \u003ccite>(Adam Tolbert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More universally relatable are the moments where spoken expression gives way to music, as in a scene where the three female reverends begin to dance, and they abandon themselves to the physical ecstasy of it, eventually joined by Radecker. Without words they convey volumes of what it means to experience joy as communion. And when, in the final moments of the play, an entire choir invades the stage to raise their voices in song, their benign presence reminds the audience that music is one of the most enduring mediums both for worship and for creating secular community.\u003c/p>\n\u003cp>In short, Young Jean Lee’s \u003cem>CHURCH\u003c/em> likely won’t change the way you do or do not believe—but at some point, you may come to appreciate how closely your own practices and reactions resemble those from either end of the spectrum of faith.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘CHURCH’ runs through Oct. 6 at the Potrero Stage. \u003ca href=\"http://www.crowdedfire.org/church/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Crowded Fire’s production of Young Jean Lee’s 'CHURCH' fails to convert this nonbeliever, but it’s not trying to.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The genius of the plays of Young Jean Lee is that no matter what your personal opinion of a specific work is, it’s impossible to view one with indifference. It’s a rare playwright who can consider charged topics such as race (\u003cem>The Shipment\u003c/em>), gender privilege (\u003cem>Straight White Men\u003c/em>), and gender identity (\u003cem>Untitled Feminist Show\u003c/em>) and reveal them as fully nuanced topics with fully nuanced humans on either side of their inevitable ideological divide. A line or scene that may have one audience member nodding along in recognition may provoke a recoil of shock in another, but whatever their reaction, neither will walk away without a strong opinion of the experience.\u003c/p>\n\u003cp>Lee’s public meditation on Christian faith, \u003cem>CHURCH\u003c/em>—currently produced by Crowded Fire, and directed by Mina Morita—is a brief slip of a play, clocking in at around 60 minutes. In concept, it portrays a much-abbreviated church service, one that’s over long before the congregation-audience can begin wriggling uncomfortably in their seats or looking longingly at the exits. The basic elements of a Sunday morning churchgoing—liturgical music, earnest sermonizing, a call to prayer—form the foundation of the performance, and it’s clearly a structure familiar to many audience members, with several spontaneously murmuring amen and offering grace at the appropriate times.\u003c/p>\n\u003cfigure id=\"attachment_13841545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LawrenceRadecker_credit_HillaryGoidell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Reverend José (Lawrence Radecker) explains it all in ‘CHURCH.’ \u003ccite>(Hillary Goidell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even for a staunch atheist with religion an integral but maddening part of the long-distant past, a condition I share with the playwright, there are moments in \u003cem>CHURCH\u003c/em> that resonate on a personal level. The opening monologue, performed in the dark by Reverend José (Lawrence Radecker), is a pointed observation of the all-too human condition of self-importance and half-hearted armchair activism, directed seemingly specifically to the skeptics.\u003c/p>\n\u003cp>“You claim to care about suffering in the world and take luxurious pleasure in raging against the perpetrators of that suffering,” he admonishes. “But this masturbation-rage helps nothing and no one.” I doubt I’m the only non-believer in the room who feels personally singled out by this merciless deconstruction of the well-intentioned path to hell. And I can’t deny that it’s a scripture I can subscribe to, right up until the moment he concludes with: “The day will come in which the Lord God Almighty comes in a shining blaze of glory, and the knowledge of your shallow heart will cause you to bite through your own tongue with grief,” and in a single sentence everything I might otherwise have agreed with is subverted by holy fear-mongering. It’s a subversion not at all uncommon in Lee’s confrontational aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13841546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841546\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/JordanMariaDon_Alison-Whismore_NkechiEmeruwa_credit_HillaryGoidell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jordan María Don, Alison Whismore, and Nkechi Emeruwa as their Reverend selves in Crowded Fire’s production of ‘CHURCH.’ \u003ccite>(Hillary Goidell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other moments in the play appear tailored to resonate more with the true believers in the room, as a cluster of three female reverends join Radecker onstage, clad in playful floral prints (designed by Alice Ruiz), and offering the assembled congregation heartfelt smiles of welcome, as they take turns at the modest podium set centerstage. The Reverend Jordan (Jordan María Don) invites the audience to offer up prayer requests. The Reverend Nkechi (Nkechi Emeruwa) quotes from Hebrews as the audience murmurs along.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But soon enough the play begins veering into the territory of the absurd. The Reverend Alison (Alison Whismore) smiles impishly as she confesses to all kinds of past perversions, her hair a beguiling Boticelli cascade. She’s followed by Reverend José who delivers another sermon, the main purpose of which seems to be equating the language of the faithful to a passionate torrent of Baroque gibberish.\u003c/p>\n\u003cp>It’s at this point that my own objectivity gives way to the unmistakable sensation of being a bored 10-year-old surrounded by the righteous, surreptitiously kicking the pews and waiting for the final amens. Nothing about the Reverend José’s parable makes sense to me, presumably because it wasn’t written to make sense to \u003cem>anyone\u003c/em>, and herein lies the subversive power of Lee’s piece. No communal experience, she points out, even among the mostly like-minded, is the same for each participant. Through the medium of Reverend Jose’s tortured metaphors of tuna, cactus, and poison, Lee reminds us that we all take different parts of the experience into ourselves and make of it what we will. That’s life, and art, and yes, even religion.\u003c/p>\n\u003cfigure id=\"attachment_13841547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-800x719.jpg\" alt=\"\" width=\"800\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-800x719.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-960x863.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-240x216.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-375x337.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert-520x467.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/NkechiEmeruwa_credit_AdamTolbert.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nkechi Emeruwa in a state of ecstatic dance in Crowded Fire’s ‘CHURCH.’ \u003ccite>(Adam Tolbert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More universally relatable are the moments where spoken expression gives way to music, as in a scene where the three female reverends begin to dance, and they abandon themselves to the physical ecstasy of it, eventually joined by Radecker. Without words they convey volumes of what it means to experience joy as communion. And when, in the final moments of the play, an entire choir invades the stage to raise their voices in song, their benign presence reminds the audience that music is one of the most enduring mediums both for worship and for creating secular community.\u003c/p>\n\u003cp>In short, Young Jean Lee’s \u003cem>CHURCH\u003c/em> likely won’t change the way you do or do not believe—but at some point, you may come to appreciate how closely your own practices and reactions resemble those from either end of the spectrum of faith.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘CHURCH’ runs through Oct. 6 at the Potrero Stage. \u003ca href=\"http://www.crowdedfire.org/church/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Philip Glass' Festival, 'In The Penal Colony' Opera Contemplates Justice",
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"content": "\u003cp>\u003cem>In the Penal Colony\u003c/em>, Franz Kafka’s 1919 short story about a torture machine in a prison camp that goes haywire, is the stuff of nightmares. \u003c/p>\n\u003cp>The plot centers on a camp official obsessed with a vicious contraption he’s invented. It executes prisoners by slowly carving the alleged crime they’ve committed into their flesh. The torture ends when the machine kills them. When a visitor invited to witness the execution of an inmate using the machine refuses to see its merits, the official turns the device on himself. But the crazed torturer doesn’t ultimately get the justice he’s seeking. \u003c/p>\n\u003cp>Grim, eh?\u003c/p>\n\u003cp>And, come to think of it, so very, very timely.\u003c/p>\n\u003cp>“Kafka’s prescient story foreshadows much of what we are feeling today as our democracy faces so many challenges and seems at risk,” says Brian Staufenbiel, the director of a new production of a chamber opera adapted from the Kafka story that plays Oct. 5 and 7 at Philip Glass’ annual \u003ca href=\"http://www.daysandnightsfestival.com\">Days and Nights Festival\u003c/a> in Carmel. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Glass, together with librettist Rudolph Wurlitzer—a descendant of the founder of the jukebox company of the same name—composed the opera in 2000.\u003c/p>\n\u003cp>Staufenbiel adds: “As we are facing so many challenges to our democracy, this prescient opera by Glass and Wurlitzer modernizes Kafka’s \u003cem>In the Penal Colony\u003c/em>, asserting the question of ‘what is justice?'”\u003c/p>\n\u003cp>The festival is mounting the production alongside the San Francisco contemporary opera company \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a>. Staufenbiel heads up the company, together with conductor Nicole Paiement.\u003c/p>\n\u003cp>The small, talented cast includes bass-baritone Robert Orth as The Officer, tenor Javier Abreu as The Visitor, and actor Michael Mohammed as The Prisoner.\u003c/p>\n\u003cp>Definitely worth the cheery ride down the California Coast, though the subject matter may be sobering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In the Penal Colony’ plays Friday Oct. 5 and Sunday Oct. 7 at The Golden Bough Theatre in Carmel. \u003ca href=\"http://www.daysandnightsfestival.com/OYimZ/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Glass, together with librettist Rudolph Wurlitzer—a descendant of the founder of the jukebox company of the same name—composed the opera in 2000.\u003c/p>\n\u003cp>Staufenbiel adds: “As we are facing so many challenges to our democracy, this prescient opera by Glass and Wurlitzer modernizes Kafka’s \u003cem>In the Penal Colony\u003c/em>, asserting the question of ‘what is justice?'”\u003c/p>\n\u003cp>The festival is mounting the production alongside the San Francisco contemporary opera company \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a>. Staufenbiel heads up the company, together with conductor Nicole Paiement.\u003c/p>\n\u003cp>The small, talented cast includes bass-baritone Robert Orth as The Officer, tenor Javier Abreu as The Visitor, and actor Michael Mohammed as The Prisoner.\u003c/p>\n\u003cp>Definitely worth the cheery ride down the California Coast, though the subject matter may be sobering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In the Penal Colony’ plays Friday Oct. 5 and Sunday Oct. 7 at The Golden Bough Theatre in Carmel. \u003ca href=\"http://www.daysandnightsfestival.com/OYimZ/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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