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"title": "Fall Into Theater: 9 Bay Area Stage and Performance Picks",
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"content": "\u003cp>Autumn in the Bay Area is a vibrant time for the performing arts, the only real limit being the number of days in a week to fit it all in. During a time when theater companies are either ending seasons or beginning new ones, the overlap creates a truly staggering array of options. World premieres, revisited triumphs, anniversary celebrations, and international visitors fill this season’s arts calendar. Here are but a few of its offerings worth seeing.\u003c/p>\n\u003cfigure id=\"attachment_13840018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg\" alt=\"Young Jean Lee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Jean Lee. \u003ccite>(Blaine Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Church’\u003c/h2>\n\u003cp>\u003cb>Crowded Fire Theatre Company, Portrero Stage, San Francisco\u003cbr>\nSept. 13–Oct 6, 2018\u003c/b>\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/church/\">Details Here\u003c/a>\u003c/p>\n\u003cp>Written over 10 years ago, Young Jean Lee’s faith-finding mission \u003cem>Church\u003c/em> consistently resonates with those who struggle with the losing-my-religion syndrome of the pragmatic empiricist. Raised in a Korean-American evangelical family, Lee knows all too well the feeling of comfort and familiarity a well-timed church service can offer even a skeptic. In \u003cem>Church\u003c/em>, directed for Crowded Fire by Mina Morita, she explores the various manifestations of faith-based thinking for believers and non-believers alike.\u003c/p>\n\u003cfigure id=\"attachment_13839813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band YASSOU scores ‘FURY’ at the Midway. \u003ccite>(Austin Hobart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘FURY’\u003c/h2>\n\u003cp>\u003cstrong>The Midway, San Francisco\u003cbr>\nSept. 14–15, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.furyshow.com/\">Details Here\u003c/a>\u003c/p>\n\u003cp>An ambitious collaboration with Mill Valley-based indie rockers YASSOU and a coterie of high-level Bay Area ballet dancers, \u003cem>FURY\u003c/em> brings the core narrative of \u003cem>Mad Max: Fury Road\u003c/em> to the club. Combining live music, projections, and dance, the show contains themes of hope, heroism, and homecoming for adventurous audiences. Installed at the Midway, a multi-use space in the Dogpatch perhaps best known for late-night electronic music events, \u003cem>FURY\u003c/em>seeks to challenge the norms of ballet performance by integrating it with pop culture touchstones to create a vibrant, immersive experience.\u003c/p>\n\u003cfigure id=\"attachment_13839815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839815\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-%E2%80%99s-2017-production-of-Marcus-Gardley%E2%80%99s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of California Shakespeare Theater’s 2017 production of ‘black odyssey.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘black odyssey’\u003c/h2>\n\u003cp>\u003cstrong>California Shakespeare Theater, Bruns Amphitheater, Orinda\u003cbr>\nSept. 25–Oct. 7, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This revival of Marcus Gardley’s Homeric epic updates the pain and poetry of a man in exile, as one Ulysses Jackson struggles to return home to Oakland after being shipwrecked in another time and place. His journey to find himself, physically and metaphorically, includes the squabbling gods and patient wife of the Greek original, mixed with modern references to Afghanistan, Hurricane Katrina, and the cold-blooded assassinations of black men throughout history. Gardley has a longtime connection to the East Bay, and closes out the Cal Shakes 2018 season with a heroic flourish.\u003c/p>\n\u003cfigure id=\"attachment_13840016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg\" alt=\"Pulitzer-winning playwright Lynn Nottage.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pulitzer-winning playwright Lynn Nottage.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sweat’\u003c/h2>\n\u003cp>\u003cstrong>ACT Geary Theater, San Francisco\u003cbr>\nSept. 26–Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat/about.html\">Details Here\u003c/a>\u003c/p>\n\u003cp>The first play under the tenure of ACT’s new artistic director Pam MacKinnon, \u003cem>Sweat\u003c/em> is set in a Pennsylvania factory town, where union strife, racial tension, and recession woes are tearing longtime relationships apart. Playwright Lynn Nottage famously spent over two years interviewing the citizens of Reading, Pennsylvania in order to distill their hopes and fears in this very timely and Pulitzer-winning play, hailed by the \u003cem>New Yorker\u003c/em> as “the first theatrical landmark of the Trump era.” Directed by Magic Theatre’s Loretta Greco.\u003c/p>\n\u003cfigure id=\"attachment_13839822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christoph Gawenda in Schaubühne Theater’s ‘An Enemy of the People.’ \u003ccite>(Arno Declair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Schaubühne Theater’s ‘An Enemy of the People’\u003c/h2>\n\u003cp>\u003cstrong>Cal Performances, Zellerbach Hall, Berkeley\u003cbr>\nOct. 12–13, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/theater/schaubuhne-an-enemy-of-the-people.php\">Details Here\u003c/a>\u003c/p>\n\u003cp>One of Europe’s top-rated theater companies, Berlin-based Schaubühne Theater first staged its controversial take on Ibsen’s ode to a whistleblower, \u003cem>An Enemy of the People\u003c/em>, in 2012. Rather than lose any of the urgency with which Ibsen imbued it in 1882, this touring production has stirred impassioned audience responses from Avignon to London to New York. Adapted and updated by Floriam Borchmeyer, featuring \u003ca href=\"https://www.schaubuehne.de/en/personen/christoph-gawenda.html\">Christoph Gawenda\u003c/a> as a scruffy, hipster Stockmann, who nonetheless takes his responsibility to the public good seriously, the play is performed in the cast’s native German, with English supertitles.\u003c/p>\n\u003cfigure id=\"attachment_13839820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Hellman in ‘Traumboy’ at CounterPulse. \u003ccite>(Raphael Hadad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Weekend at CounterPulse: ‘The Homophobes, a Clown Show’ and ‘Traumboy’\u003c/h2>\n\u003cp>\u003cstrong>CounterPulse, San Francisco\u003cbr>\nOct. 17–19 and Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://counterpulse.org\">Details Here\u003c/a>\u003c/p>\n\u003cp>CounterPulse has long championed genre-defying work from both hyperlocal performers and touring ones, and in October the venue co-hosts two edgy out-of-town performances: \u003cem>The Homophobes, a Clown Show\u003c/em>, brought by longtime queer artmaker and director Dino Dinco, and \u003cem>Traumboy \u003c/em>starring Daniel Hellman, a Swiss-born male prostitute and performance artist, in conjunction with the \u003ca href=\"https://www.zurichmeetssanfrancisco.org/events\" target=\"_blank\" rel=\"noopener\">Zürich Meets San Francisco Festival\u003c/a>. \u003cem>The Homophobes\u003c/em>, a genderqueered divine comedy by Argentinean playwright Susana Cook, features a pregnant reverend whose congregation is taken aback by the implications of tangible immaculate conception. \u003cem>Traumboy\u003c/em>, meanwhile, explores the realities and fantasies of male sex work from Hellman’s perspective. Both shows should prove to be fascinating forays, whether on their own or in tandem.\u003c/p>\n\u003cfigure id=\"attachment_13839814\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839814\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg\" alt=\"\" width=\"700\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-520x260.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">American playwright Robert O’Hara returns to Brava Theater. \u003ccite>(Zack Dezon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An American Ma(u)l’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 18–Nov. 11, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/18/an-american-maul\">Details Here\u003c/a>\u003c/p>\n\u003cp>The satirical genius of playwright Robert O’Hara has found a solid home with Black Artists Contemporary Cultural Experience, who presented his subversive \u003cem>Bootycandy\u003c/em> in 2017. This fall, they produce his \u003cem>American Ma(u)l\u003c/em>, an irreverent script that brings the cotton gin and all its attendant social and political implications to a futurist America (an improbable scenario which nonetheless seems more and more believable as the current administration progresses). Directed by Edris Cooper-Anifowoshe at Brava Theater.\u003c/p>\n\u003cfigure id=\"attachment_13839819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839819\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Epifano, founder of San Francisco Trolley Dances, prepares for adventure. \u003ccite>(Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Trolley Dances 15-year Anniversary\u003c/h2>\n\u003cp>\u003cstrong>Mission Creek Park, N-Judah Muni Line, San Francisco\u003cbr>\nOct. 20–21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://epiphanydance.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>For lovers of the \u003ca href=\"http://www.munidiaries.com/\">Muni Diaries\u003c/a>, SF’s robust, homegrown dance scene, and the hybrid performance/tour model, there’s nothing like this year’s 15-year anniversary for Epiphany Dance Theater’s charming \u003cem>Trolley Dances\u003c/em>, a site-integrated, transit-minded showcase. For the price of a MUNI ticket, riders join the trolley dancers as they meet up at Mission Creek Park, then jump on the N-Judah line to head over to SFMOMA—stopping along the way to experience mini dance performances. A diverse array of companies is involved, including SF stalwarts such as ODC/Dance and Robert Moses’ Kin, traveling guests from San Diego Dance Theater, and festival newcomers such as Aisan Hoss and Dancers and the Hālau Makana Polynesian Cultural Arts company.\u003c/p>\n\u003cfigure id=\"attachment_13839816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Medea Project’s Rhodessa Jones. \u003ccite>(Thatcher Hayward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘When Did Your Hands Become a Weapon?’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 25–Nov. 4, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/25/when-did-your-hands-become-a-weapon\">Details Here\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Within Bay Area arts organization Cultural Odyssey are nested several long-term performance projects, including the Medea Project, Theater for Incarcerated Women and HIV Circle. Helmed by Cultural Odyssey’s Rhodessa Jones, the almost-30-year-old Medea Project collaborates with and performs works by incarcerated women and women living with HIV, combining urgent storytelling with physical movement, music, and ritual. \u003cem>When Did Your Hands Become a Weapon?\u003c/em> tackles themes of domestic violence and sexual abuse, as well as the mechanisms we use to survive and heal from it, part of Cultural Odyssey’s 40-year anniversary season.\u003c/p>\n\n",
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"excerpt": "Autumn is always a busy time for theater; here are nine of the best shows to see this season.",
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"description": "Autumn is always a busy time for theater; here are nine of the best shows to see this season.",
"title": "Fall Into Theater: 9 Bay Area Stage and Performance Picks | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Autumn in the Bay Area is a vibrant time for the performing arts, the only real limit being the number of days in a week to fit it all in. During a time when theater companies are either ending seasons or beginning new ones, the overlap creates a truly staggering array of options. World premieres, revisited triumphs, anniversary celebrations, and international visitors fill this season’s arts calendar. Here are but a few of its offerings worth seeing.\u003c/p>\n\u003cfigure id=\"attachment_13840018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg\" alt=\"Young Jean Lee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Jean Lee. \u003ccite>(Blaine Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Church’\u003c/h2>\n\u003cp>\u003cb>Crowded Fire Theatre Company, Portrero Stage, San Francisco\u003cbr>\nSept. 13–Oct 6, 2018\u003c/b>\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/church/\">Details Here\u003c/a>\u003c/p>\n\u003cp>Written over 10 years ago, Young Jean Lee’s faith-finding mission \u003cem>Church\u003c/em> consistently resonates with those who struggle with the losing-my-religion syndrome of the pragmatic empiricist. Raised in a Korean-American evangelical family, Lee knows all too well the feeling of comfort and familiarity a well-timed church service can offer even a skeptic. In \u003cem>Church\u003c/em>, directed for Crowded Fire by Mina Morita, she explores the various manifestations of faith-based thinking for believers and non-believers alike.\u003c/p>\n\u003cfigure id=\"attachment_13839813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-800x484.jpg\" alt=\"\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FURY-Band-YASSOU_credit_AustinHobart-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band YASSOU scores ‘FURY’ at the Midway. \u003ccite>(Austin Hobart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘FURY’\u003c/h2>\n\u003cp>\u003cstrong>The Midway, San Francisco\u003cbr>\nSept. 14–15, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.furyshow.com/\">Details Here\u003c/a>\u003c/p>\n\u003cp>An ambitious collaboration with Mill Valley-based indie rockers YASSOU and a coterie of high-level Bay Area ballet dancers, \u003cem>FURY\u003c/em> brings the core narrative of \u003cem>Mad Max: Fury Road\u003c/em> to the club. Combining live music, projections, and dance, the show contains themes of hope, heroism, and homecoming for adventurous audiences. Installed at the Midway, a multi-use space in the Dogpatch perhaps best known for late-night electronic music events, \u003cem>FURY\u003c/em>seeks to challenge the norms of ballet performance by integrating it with pop culture touchstones to create a vibrant, immersive experience.\u003c/p>\n\u003cfigure id=\"attachment_13839815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839815\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-%E2%80%99s-2017-production-of-Marcus-Gardley%E2%80%99s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/The-cast-of-California-Shakespeare-Theater-’s-2017-production-of-Marcus-Gardley’s-black-odyssey-directed-by-Eric-Ting-photo-by-Kevin-Berne-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of California Shakespeare Theater’s 2017 production of ‘black odyssey.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘black odyssey’\u003c/h2>\n\u003cp>\u003cstrong>California Shakespeare Theater, Bruns Amphitheater, Orinda\u003cbr>\nSept. 25–Oct. 7, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\">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>This revival of Marcus Gardley’s Homeric epic updates the pain and poetry of a man in exile, as one Ulysses Jackson struggles to return home to Oakland after being shipwrecked in another time and place. His journey to find himself, physically and metaphorically, includes the squabbling gods and patient wife of the Greek original, mixed with modern references to Afghanistan, Hurricane Katrina, and the cold-blooded assassinations of black men throughout history. Gardley has a longtime connection to the East Bay, and closes out the Cal Shakes 2018 season with a heroic flourish.\u003c/p>\n\u003cfigure id=\"attachment_13840016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg\" alt=\"Pulitzer-winning playwright Lynn Nottage.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LynnNottage-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pulitzer-winning playwright Lynn Nottage.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sweat’\u003c/h2>\n\u003cp>\u003cstrong>ACT Geary Theater, San Francisco\u003cbr>\nSept. 26–Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1819_season/sweat/about.html\">Details Here\u003c/a>\u003c/p>\n\u003cp>The first play under the tenure of ACT’s new artistic director Pam MacKinnon, \u003cem>Sweat\u003c/em> is set in a Pennsylvania factory town, where union strife, racial tension, and recession woes are tearing longtime relationships apart. Playwright Lynn Nottage famously spent over two years interviewing the citizens of Reading, Pennsylvania in order to distill their hopes and fears in this very timely and Pulitzer-winning play, hailed by the \u003cem>New Yorker\u003c/em> as “the first theatrical landmark of the Trump era.” Directed by Magic Theatre’s Loretta Greco.\u003c/p>\n\u003cfigure id=\"attachment_13839822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/cal-performances-enemy-of-the-people-credit-arno-declair-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christoph Gawenda in Schaubühne Theater’s ‘An Enemy of the People.’ \u003ccite>(Arno Declair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Schaubühne Theater’s ‘An Enemy of the People’\u003c/h2>\n\u003cp>\u003cstrong>Cal Performances, Zellerbach Hall, Berkeley\u003cbr>\nOct. 12–13, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/theater/schaubuhne-an-enemy-of-the-people.php\">Details Here\u003c/a>\u003c/p>\n\u003cp>One of Europe’s top-rated theater companies, Berlin-based Schaubühne Theater first staged its controversial take on Ibsen’s ode to a whistleblower, \u003cem>An Enemy of the People\u003c/em>, in 2012. Rather than lose any of the urgency with which Ibsen imbued it in 1882, this touring production has stirred impassioned audience responses from Avignon to London to New York. Adapted and updated by Floriam Borchmeyer, featuring \u003ca href=\"https://www.schaubuehne.de/en/personen/christoph-gawenda.html\">Christoph Gawenda\u003c/a> as a scruffy, hipster Stockmann, who nonetheless takes his responsibility to the public good seriously, the play is performed in the cast’s native German, with English supertitles.\u003c/p>\n\u003cfigure id=\"attachment_13839820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839820\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Traumboy_credit_RaphaelHadad-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Hellman in ‘Traumboy’ at CounterPulse. \u003ccite>(Raphael Hadad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Weekend at CounterPulse: ‘The Homophobes, a Clown Show’ and ‘Traumboy’\u003c/h2>\n\u003cp>\u003cstrong>CounterPulse, San Francisco\u003cbr>\nOct. 17–19 and Oct. 21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://counterpulse.org\">Details Here\u003c/a>\u003c/p>\n\u003cp>CounterPulse has long championed genre-defying work from both hyperlocal performers and touring ones, and in October the venue co-hosts two edgy out-of-town performances: \u003cem>The Homophobes, a Clown Show\u003c/em>, brought by longtime queer artmaker and director Dino Dinco, and \u003cem>Traumboy \u003c/em>starring Daniel Hellman, a Swiss-born male prostitute and performance artist, in conjunction with the \u003ca href=\"https://www.zurichmeetssanfrancisco.org/events\" target=\"_blank\" rel=\"noopener\">Zürich Meets San Francisco Festival\u003c/a>. \u003cem>The Homophobes\u003c/em>, a genderqueered divine comedy by Argentinean playwright Susana Cook, features a pregnant reverend whose congregation is taken aback by the implications of tangible immaculate conception. \u003cem>Traumboy\u003c/em>, meanwhile, explores the realities and fantasies of male sex work from Hellman’s perspective. Both shows should prove to be fascinating forays, whether on their own or in tandem.\u003c/p>\n\u003cfigure id=\"attachment_13839814\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839814\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg\" alt=\"\" width=\"700\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Robert-OHara-Headshot_Photo-by-ZACK-DEZON-520x260.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">American playwright Robert O’Hara returns to Brava Theater. \u003ccite>(Zack Dezon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An American Ma(u)l’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 18–Nov. 11, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/18/an-american-maul\">Details Here\u003c/a>\u003c/p>\n\u003cp>The satirical genius of playwright Robert O’Hara has found a solid home with Black Artists Contemporary Cultural Experience, who presented his subversive \u003cem>Bootycandy\u003c/em> in 2017. This fall, they produce his \u003cem>American Ma(u)l\u003c/em>, an irreverent script that brings the cotton gin and all its attendant social and political implications to a futurist America (an improbable scenario which nonetheless seems more and more believable as the current administration progresses). Directed by Edris Cooper-Anifowoshe at Brava Theater.\u003c/p>\n\u003cfigure id=\"attachment_13839819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839819\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Kim-Epifano-for-San-Francisco-Trolley-Dances.-Photo-by-Andy-Mogg.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Epifano, founder of San Francisco Trolley Dances, prepares for adventure. \u003ccite>(Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Trolley Dances 15-year Anniversary\u003c/h2>\n\u003cp>\u003cstrong>Mission Creek Park, N-Judah Muni Line, San Francisco\u003cbr>\nOct. 20–21, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://epiphanydance.org/\">Details Here\u003c/a>\u003c/p>\n\u003cp>For lovers of the \u003ca href=\"http://www.munidiaries.com/\">Muni Diaries\u003c/a>, SF’s robust, homegrown dance scene, and the hybrid performance/tour model, there’s nothing like this year’s 15-year anniversary for Epiphany Dance Theater’s charming \u003cem>Trolley Dances\u003c/em>, a site-integrated, transit-minded showcase. For the price of a MUNI ticket, riders join the trolley dancers as they meet up at Mission Creek Park, then jump on the N-Judah line to head over to SFMOMA—stopping along the way to experience mini dance performances. A diverse array of companies is involved, including SF stalwarts such as ODC/Dance and Robert Moses’ Kin, traveling guests from San Diego Dance Theater, and festival newcomers such as Aisan Hoss and Dancers and the Hālau Makana Polynesian Cultural Arts company.\u003c/p>\n\u003cfigure id=\"attachment_13839816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RhodessaJones_credit_ThatcherHayward-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Medea Project’s Rhodessa Jones. \u003ccite>(Thatcher Hayward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘When Did Your Hands Become a Weapon?’\u003c/h2>\n\u003cp>\u003cstrong>Brava Theatre, San Francisco\u003cbr>\nOct. 25–Nov. 4, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.brava.org/all-events/2018/10/25/when-did-your-hands-become-a-weapon\">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>Within Bay Area arts organization Cultural Odyssey are nested several long-term performance projects, including the Medea Project, Theater for Incarcerated Women and HIV Circle. Helmed by Cultural Odyssey’s Rhodessa Jones, the almost-30-year-old Medea Project collaborates with and performs works by incarcerated women and women living with HIV, combining urgent storytelling with physical movement, music, and ritual. \u003cem>When Did Your Hands Become a Weapon?\u003c/em> tackles themes of domestic violence and sexual abuse, as well as the mechanisms we use to survive and heal from it, part of Cultural Odyssey’s 40-year anniversary season.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hail Caesar! Shakespearean Drama Meets Historical San Francisco in 'Caesar Maximus'",
"headTitle": "Hail Caesar! Shakespearean Drama Meets Historical San Francisco in ‘Caesar Maximus’ | KQED",
"content": "\u003cp>In these politically charged times, the impetus to draw parallels with similarly fraught occasions in history becomes an irresistible pastime. This month, it’s We Players’ turn, with a timely adaptation of Shakespeare’s \u003cem>Julius Caesar\u003c/em> that recalls the origins of Senate obfuscation and the long struggle to distinguish between political and personal ambition within the various seats of office and leadership.\u003c/p>\n\u003cp>Set at the music concourse in Golden Gate Park, with its grand bandshell, the gracious Rideout Fountain, and several pedestrian underpasses, the actors’ Gilded-Age top hats and waistcoats (designed by Brooke Jennings and Kathleen Qiu) lend a raffish, robber-baron aesthetic to the production, neatly fusing Old San Francisco to Old Rome.\u003c/p>\n\u003cfigure id=\"attachment_13839773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-800x520.jpg\" alt=\"\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-520x338.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of Caesar Maximus stroll through Golden Gate Park’s Music Concourse. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frequent proponents of cross-casting, We Players has Libby Oberlin in the role of Caesar, which she plays to the hilt with brash swagger, clad in high boots and breeches and brandishing a riding crop. It is her stance as a woman in power that has turned her conspirators against her, We Players suggests, her self-assuredness mistaken for tyranny. As Caesar, Oberlin helps her conspirators set their case at certain moments—particularly when mocking a soothsayer (Emily Stone) come to warn her (not a good look, as one might say in today’s vernacular). But is such careless ego truly a mark of a tyrant? We Players forces us to consider the spectrum of self-absorption, neither excusing Caesar’s behavior nor explicitly condemning it.\u003c/p>\n\u003cp>More compact than certain past We Players productions, \u003cem>Caesar Maximus\u003c/em> (adapted by Nick Medina and director Ava Roy) practically zooms by in just a couple of hours. The action is limited to just a few locations, all within a brief stroll of each other. The cast, too, is streamlined, with most actors doubling their roles, and several characters serving as composites—such as Chris Steele’s impish Casca (who arrives to the Lupercalia on roller skates) speaking lines to woo Caesar to the Senate House originally intended by Shakespeare to be spoken by Decius Brutus. In effect, it plays like a greatest-hits reel of the play, the minutiae mostly not missed as the San Francisco fog settles in for the evening and blankets are passed out to the audience. (Pro tip: do not neglect to bring your layers.)\u003c/p>\n\u003cfigure id=\"attachment_13839772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg\" alt=\"\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alan Coyne, Hunter MacNair and Chris Steele as the conspirators in the plot to kill Caesar. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only really disconcerting jolt in the pacing is the swiftness with which Caesar is dispatched to her death. It happens early in the production, before it feels as if enough momentum or acrimony has gathered against her to justify the boldness of the deed. The death itself is curiously bloodless, built up with some neat, slow-motion fighting choreographed by Chris Steele, but leaving the actors in their frozen positions for much too long after. Only Antony’s mellifluous monologue, expertly delivered by Rotimi Agbabiaka, cements the moment with the appropriate solemnity. Agbabiaka anchors Caesar’s funeral scene as well, inciting a too-small mob in a too-large playing area to enact some too-staged violence, setting the stage, as it were, for the eventual downfall of Brutus (Joseph Schommer) and Cassius’ (Hunter Scott MacNair).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In every We Players show, there is a concentrated effort to mold the piece visually into its staging ground. For \u003cem>Ondine\u003c/em>, ocean spray crashing against the ruins of Sutro Baths provided an essential backdrop; for \u003cem>Hamlet\u003c/em> on Alcatraz, even the ferry boat on the way to “The Rock” was used for an introductory scene. Here at the music concourse, the actors playing the conspirators lounge against the towering pillars of the bandshell, the vaulted ceiling of which lends architectural gravitas, and high-spirited parades are led through the central promenade. Less immediately intuitive are moments when the audience is led from scene to scene as actors pose in the distance at street level with fluttering red scarves in hand, or the curious choice to eschew the conveniently located seating which already faces the bandshell stage, opting instead to arrange its audience on folding stools a few feet closer to the action.\u003c/p>\n\u003cfigure id=\"attachment_13839771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Timekeeper (Emily Stone) assists Brutus (Joseph Schommer) with his suicide, as the ghost of Caesar watches from the background. \u003ccite>(Mark Kitaoka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the decision to end the play in the dark confines of a low tunnel arching over a pedestrian path at the far end of the concourse is an inspired one. By the beam of a single amber light—framed from behind by the bars of an iron gate, a diaphanous furl of fabric, and the unbowed ghost of Caesar—Cassius and Brutus face their final moments, assisted silently by the production’s audience guide and chief wrangler, the Timekeeper (Emily Stone).\u003c/p>\n\u003cp>Walking back into the light, flanked by overgrown foliage and a burst of pink amaryllis, feels like a triumph. For a moment, everything seems possible: the dispatching of would-be tyrants, the power of a well-turned oratorical phrase to inspire action, and the continual evolution of the “classics” in their ability to reveal modern concerns.\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>‘Caesar Maximus’ runs through Sept. 30 in Golden Gate Park. Details \u003ca href=\"http://www.weplayers.org\"> here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "We Players' Gilded-Age reinterpretation of Shakespeare's 'Julius Caesar' plays at Golden Gate Park's music concourse. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In these politically charged times, the impetus to draw parallels with similarly fraught occasions in history becomes an irresistible pastime. This month, it’s We Players’ turn, with a timely adaptation of Shakespeare’s \u003cem>Julius Caesar\u003c/em> that recalls the origins of Senate obfuscation and the long struggle to distinguish between political and personal ambition within the various seats of office and leadership.\u003c/p>\n\u003cp>Set at the music concourse in Golden Gate Park, with its grand bandshell, the gracious Rideout Fountain, and several pedestrian underpasses, the actors’ Gilded-Age top hats and waistcoats (designed by Brooke Jennings and Kathleen Qiu) lend a raffish, robber-baron aesthetic to the production, neatly fusing Old San Francisco to Old Rome.\u003c/p>\n\u003cfigure id=\"attachment_13839773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-800x520.jpg\" alt=\"\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Hunter-MacNair-Rotimi-Agbabiaka-Zoltan-DiBartolo-Joseph-Schommer-Alan-Coyne-Oscar-Velarde-Britt-Lauer_credit_LaurenMatley-520x338.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of Caesar Maximus stroll through Golden Gate Park’s Music Concourse. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frequent proponents of cross-casting, We Players has Libby Oberlin in the role of Caesar, which she plays to the hilt with brash swagger, clad in high boots and breeches and brandishing a riding crop. It is her stance as a woman in power that has turned her conspirators against her, We Players suggests, her self-assuredness mistaken for tyranny. As Caesar, Oberlin helps her conspirators set their case at certain moments—particularly when mocking a soothsayer (Emily Stone) come to warn her (not a good look, as one might say in today’s vernacular). But is such careless ego truly a mark of a tyrant? We Players forces us to consider the spectrum of self-absorption, neither excusing Caesar’s behavior nor explicitly condemning it.\u003c/p>\n\u003cp>More compact than certain past We Players productions, \u003cem>Caesar Maximus\u003c/em> (adapted by Nick Medina and director Ava Roy) practically zooms by in just a couple of hours. The action is limited to just a few locations, all within a brief stroll of each other. The cast, too, is streamlined, with most actors doubling their roles, and several characters serving as composites—such as Chris Steele’s impish Casca (who arrives to the Lupercalia on roller skates) speaking lines to woo Caesar to the Senate House originally intended by Shakespeare to be spoken by Decius Brutus. In effect, it plays like a greatest-hits reel of the play, the minutiae mostly not missed as the San Francisco fog settles in for the evening and blankets are passed out to the audience. (Pro tip: do not neglect to bring your layers.)\u003c/p>\n\u003cfigure id=\"attachment_13839772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg\" alt=\"\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Alan-Coyne-Hunter-MacNair-Chris-Steele_credit_LaurenMatley.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alan Coyne, Hunter MacNair and Chris Steele as the conspirators in the plot to kill Caesar. \u003ccite>(Lauren Matley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only really disconcerting jolt in the pacing is the swiftness with which Caesar is dispatched to her death. It happens early in the production, before it feels as if enough momentum or acrimony has gathered against her to justify the boldness of the deed. The death itself is curiously bloodless, built up with some neat, slow-motion fighting choreographed by Chris Steele, but leaving the actors in their frozen positions for much too long after. Only Antony’s mellifluous monologue, expertly delivered by Rotimi Agbabiaka, cements the moment with the appropriate solemnity. Agbabiaka anchors Caesar’s funeral scene as well, inciting a too-small mob in a too-large playing area to enact some too-staged violence, setting the stage, as it were, for the eventual downfall of Brutus (Joseph Schommer) and Cassius’ (Hunter Scott MacNair).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In every We Players show, there is a concentrated effort to mold the piece visually into its staging ground. For \u003cem>Ondine\u003c/em>, ocean spray crashing against the ruins of Sutro Baths provided an essential backdrop; for \u003cem>Hamlet\u003c/em> on Alcatraz, even the ferry boat on the way to “The Rock” was used for an introductory scene. Here at the music concourse, the actors playing the conspirators lounge against the towering pillars of the bandshell, the vaulted ceiling of which lends architectural gravitas, and high-spirited parades are led through the central promenade. Less immediately intuitive are moments when the audience is led from scene to scene as actors pose in the distance at street level with fluttering red scarves in hand, or the curious choice to eschew the conveniently located seating which already faces the bandshell stage, opting instead to arrange its audience on folding stools a few feet closer to the action.\u003c/p>\n\u003cfigure id=\"attachment_13839771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Emily-Stone-Joseph-Schommer_credit_MarkKitaoka-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Timekeeper (Emily Stone) assists Brutus (Joseph Schommer) with his suicide, as the ghost of Caesar watches from the background. \u003ccite>(Mark Kitaoka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the decision to end the play in the dark confines of a low tunnel arching over a pedestrian path at the far end of the concourse is an inspired one. By the beam of a single amber light—framed from behind by the bars of an iron gate, a diaphanous furl of fabric, and the unbowed ghost of Caesar—Cassius and Brutus face their final moments, assisted silently by the production’s audience guide and chief wrangler, the Timekeeper (Emily Stone).\u003c/p>\n\u003cp>Walking back into the light, flanked by overgrown foliage and a burst of pink amaryllis, feels like a triumph. For a moment, everything seems possible: the dispatching of would-be tyrants, the power of a well-turned oratorical phrase to inspire action, and the continual evolution of the “classics” in their ability to reveal modern concerns.\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>‘Caesar Maximus’ runs through Sept. 30 in Golden Gate Park. Details \u003ca href=\"http://www.weplayers.org\"> here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Using humor and imagination as survival tools is a guiding principle for Peacock Rebellion, an East Oakland-based art and activism collective composed of queer and trans people of color. Led by Devi Peacock, Lexi Adsit, Q Quintero, Kathrin Cantin and Luna Merbruja, the group leverages its many creative talents to engage their communities in social justice causes.\u003c/p>\n\u003cp>Peacock Rebellion may be primarily known for \u003ca href=\"http://www.peacockrebellion.org/shows/\" target=\"_blank\" rel=\"noopener\">Brouhaha\u003c/a>, a hilarious and moving comedic storytelling showcase with a cast of trans women of color. But the group also offers services to the community: They banded together with several other activist-minded collectives to \u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\" target=\"_blank\" rel=\"noopener\">purchase a mixed-use building\u003c/a> on 23rd Avenue in Oakland through a land trust deal, securing affordable housing and commercial rent for activist groups and low-income residents. In their new headquarters, they lead performance workshops, offer access to technologies like 3D printers and industrial sewing machines, provide a low-cost event space and host events to activate their community in local politics.\u003c/p>\n\u003cp>The artist-activists in Peacock Rebellion reject the notion that big, bureaucratic nonprofits hold the keys to a more equitable future; instead, their focus is on people power. (They have a board of elders instead of a board of directors, consisting of Cherry Galette of Mangos with Chili, writer-activist Jen-Mei Wu, game developer and author Micha Cárdenas, Kebo Drew of Queer Women of Color Media Arts Project, Pam Peniston of the Queer Cultural Center and musician and filmmaker StormMiguel Florez.)\u003c/p>\n\u003cp>Despite the many institutional barriers and -isms faced by queer and trans people of color, Peacock Rebellion fights for change through their artistry, always keeping their vision for a better world front of mind.\u003c/p>\n\u003cfigure id=\"attachment_13839240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg\" alt=\"Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you sum up the mission of Peacock Rebellion? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> How do we sum up the mission? Oh, my gosh. First, it came out of a lot of stuff I was doing with [the queer and trans people of color (QTPOC) performance collective] Mangos With Chili, and then I was performing in Queer Rebels and a bunch of these QTPOC groups in the Bay. I was also in art school at Goddard, and I dropped out of art school because I was spending more time organizing students and faculty of color dealing with institutionalized racism than I was working on my art.\u003c/p>\n\u003cp>That’s the one part, and then the other part was I was burning out as an organizer. I was way more effective with a microphone than a megaphone. I was able to move people on stage with social justice messages through my comedy, but in my organizing I wasn’t necessarily reaching the people who weren’t already coming to a march or a protest.\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I guess I would also just add that in recent years we’ve really centered the organization around trans women of color and trans femmes of color. When I entered the organization in 2012, I was a part of the stand-up cohort. There was a transphobia that came up in that cohort, and me and a number of other trans women of color at the time were really noticing a lack of visible trans women of color artists and art shows. I think Devi did a really amazing job in giving Peacock the space and platform where trans women of color and trans femmes of color can access free, quality arts training and support in that way.\u003c/p>\n\u003cfigure id=\"attachment_13839239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg\" alt=\"Lexi Adsit of Peacock Rebellion.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lexi Adsit of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It seems like the power of the collective is very important to your vision. You guys have a core leadership group of five people, right? Could you talk about the importance of collaboration in making your projects possible? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Yeah, I think Devi and I both have a lot of experience navigating the nonprofit industrial complex. There’s such a hierarchy [within nonprofits] that repeats very problematic power dynamics. For us, we’re really unique in the sense that we also have a board of elders that don’t really get seen as much but they’re super amazing and provide us a lot of really wonderful feedback and insights.\u003c/p>\n\u003cp>Our structure is really set up in a way where it’s not just one person making the decisions. There’s the core group of five of us, but we’re all still receiving feedback from our artists all the time, or the board of elders all the time, or our community partners and other organizations that we work closely with all the time. We use all that information to really inform our politics and the things that we promote in terms of our newsletter or calls to action.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, for me, the idea that somehow the success of an organization is dependent on one person is just such bullsh-t. Everybody’s brilliance actually creates the whole.\u003c/p>\n\u003cp>We need to center femme leadership. That’s why actually almost all of what we do is, I would say, femme emotional labor. The last Brouhaha, we turned it into a festival and 800 people came. Then within a matter of days, all these people showed up for court support [for someone in our community], and to donate directly to trans women of color, and call the DA to drop charges against a trans woman of color who was defending herself against an abuser.\u003c/p>\n\u003cp>All of that stuff is ultimately about the power of the collective. For us, it’s very low infrastructure on purpose, so that we can move very quickly.\u003c/p>\n\u003cfigure id=\"attachment_13839242\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg\" alt=\"The power of the collective is a guiding principle for the Peacock Rebellion crew.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The power of the collective is a guiding principle for the Peacock Rebellion crew. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s been over six months now since you guys officially bought your building on 23rd Avenue in Oakland. What have been some of the biggest challenges of that and the biggest rewards since buying it?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I think we’re just really fortunate in the situation that we’re in with the work that we do—with the cost of rent, the cost of living—we’re just truly really blessed to have this amazing space on this amazing block, and to have such awesome community partners like Eastside Arts Alliance, \u003ca href=\"http://oaklandsol.weebly.com/\" target=\"_blank\" rel=\"noopener\">Sustaining Ourselves Locally\u003c/a> (SOL), \u003ca href=\"https://www.cyclesofchange.org/bike_shop_the_bikery\" target=\"_blank\" rel=\"noopener\">The Bikery\u003c/a>—all these places that are just right next door to us that are kinship partners.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> For me, I think similarly the blessings around it are because of the collective power. For example, the day that we got that email from our landlord being like, “Hey, I’m going to sell the building in 90 days,” I absolutely cried. And then very quickly we rolled up our sleeves and were like, “All right, well, I guess we’re buying a building.”\u003c/p>\n\u003cp>Our reality as mostly marginalized people is that we’re struggling just to survive day-to-day on top of everything else. The Bikery got robbed a couple days ago. Yesterday there was a fire at The Village, which is just down the block, and we have a close relationship with them as well.\u003c/p>\n\u003cp>How do we, as a collective of collectives, shape something, go out of crisis mode? How do we dream futures where we’re at the center and we can actually thrive?\u003c/p>\n\u003cfigure id=\"attachment_13839241\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg\" alt=\"Katherin Canton of Peacock Rebellion. \" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katherin Canton of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nWhat programs are you currently running out of your space in addition to Brouhaha?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> Currently, our office is closed for renovations, but when we are not closed for renovations we run a monthly maker day. We have this industrial sewing machine, we have 3D printers, we have a strong base of coders and folks involved in tech.\u003c/p>\n\u003cp>We’re currently in talks with an organization to do a writing group. Then we’re preparing for a big spring show, and that’s going to be more of a cabaret-style show, and it’s going to be on mental health.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah. The spring show is called Magic Mirrors. Luna Merbruja is artistic-directing it. As it’s scheduled, it’s all trans people of color and looking at mental illness as a kind of brilliance.\u003c/p>\n\u003cp>Then we just had a call yesterday to firm up the writing series. It’s a month-long series that’s all trans femmes. That is in collaboration with \u003ca href=\"https://www.heartsparkpress.com/\" target=\"_blank\" rel=\"noopener\">Heartspark Press\u003c/a>, which is an amazing trans press. Luna is actually also teaching that workshop series.\u003c/p>\n\u003cp>The maker days are all focused around social justice. One recent maker day was called We Are Gems. Nastia, brace yourself, because it is all on \u003cem>Steven Universe\u003c/em>. You’ve seen \u003cem>Steven Universe\u003c/em>, yeah?\u003c/p>\n\u003cp>\u003cstrong>Oh, I actually haven’t.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> I just watched all five seasons in like two weeks. That’s like a couple hundred episodes. It’s because I cannot believe that that show is on TV, that the government has not shut it down, because I’m like, “This is f-cking incredible.” There’s a lot of queer and trans visibility in the characters, and it’s all about social justice.\u003c/p>\n\u003cfigure id=\"attachment_13839244\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg\" alt=\"Q Quintero of Peacock Rebellion.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Q Quintero of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nI had no idea! \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, like all around empire, capitalism, PTSD, police brutality. There’s all this stuff they cover somehow on this children’s cartoon. So we had this maker day called We Are Gems. Each character [in the show] is a gem, like an amethyst, a rose quartz or that kind of thing. People would actually have to design their gem and then identify their own personal traits in their relationship to social justice.\u003c/p>\n\u003cp>Then we encouraged them to think about what are your core values, and how do you see them in terms of shaping the cultural practices in Oakland? The \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/cultural-plan/index.htm\" target=\"_blank\" rel=\"noopener\">City of Oakland’s Cultural Plan\u003c/a> is being rewritten for the first time in 30 years, and the last version of the cultural plan is not even a little about equity.\u003c/p>\n\u003cp>We had copies of the City of Oakland’s Cultural Plan, and people, together as a collective of people who had never met before, [used the gem project] to shape their own talking points. We took those talking points, and then we had stations set up for people to call and email the City of Oakland with their ideas about what they want to see in the Cultural Plan. Then we sent the collectively written talking points to our email list with a call-to-action button.\u003c/p>\n\u003cp>\u003cstrong>What would be your wildest dreams of what you can do with your new space? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Something we are dreaming about and thinking about how to make happen is we want to turn one of the back rooms into a sound studio. People would be able to do podcasts, or record music or audio, or we would be able to run programs out of there.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> I’m also interested in shifting the maker days into an \u003ca href=\"https://www.akpress.org/emergentstrategy.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Emergent Strategy\u003c/em>\u003c/a> training series [based on Adrienne Maree Brown’s radical self-help book]. We’d be taking people through a yearlong study of the \u003cem>Emergent Strategy\u003c/em> framework and book. One example is that a couple months ago someone lit a blanket on fire and threw it over the fence and half of the yard next to us burned. The fire department never came.\u003c/p>\n\u003cp>\u003cstrong>Oh my god, that’s terrible.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> We had gone through training on how to use fire extinguishers and stuff, so people from The Bikery ran over and put out the fire. We need to be able to be ready to provide our own solutions, and this is something a lot of people in the building are talking about. So, how do we build out safety teams? We had a skinhead come to the door a couple weeks after the election. I was the only one there, and the person held up this sharpened object to my neck. Spoiler alert, I’m still here. I’m alive.\u003c/p>\n\u003cp>\u003cstrong>That sounds terrifying!\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> Yeah, it was not the highlight of my day, I will say that. The thing about that, this sh-t is real and I never thought that that would happen in East Oakland, like ever. But, yeah, this sh-t is everywhere.\u003c/p>\n\u003cp>Yeah, so being like what does that look like, what does that look like if there were a giant earthquake or whatever it is, something happens and you lose your communication channels, what do you do? What skills do you have, what can you contribute to the thing, how do you communicate to your crew, who is your crew, what are your plans that are in place.\u003c/p>\n\u003cp>And then also I just want to write some f-cking jokes. You know how there’s \u003cem>Saturday Night Live\u003c/em>? I want to do a thing that’s called \u003cem>Sunday Night Dead\u003c/em>, and do kind of a weekly in-person show where we actually talk about the news, but we talk about it in a way that’s not just trauma-informed but healing-centered with our people, but all comedy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> That is super easy to answer. I guess starting with the basics, I would love artists to have the ability to live in the Bay Area, survive in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Instantly when you said that, I was just like, “Artists need to get paid!” You know? But the truth is, we also need an end to capitalism.\u003c/p>\n\u003cp>What’s true is that our people’s survival always depends on creativity. We have to be able to imagine worlds with ourselves going beyond survival. What I’m hoping for and I think what we’re trying to plant seeds for is that everyone actually sees themselves as an artist and as a creative person, and that we can through that collective creativity imagine worlds together and build worlds together where everyone is held, and cherished, and valued, everybody has dignity, everybody has love, everybody has access. Frankly, around the basics also, everyone should have free, clean access to water and clean air.\u003c/p>\n\u003cp>Also, b-tches need to get paid.\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>Learn more about Peacock Rebellion \u003ca href=\"http://www.peacockrebellion.org/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Bay Brilliant: Peacock Rebellion | KQED",
"description": "The artist-activist collective uses humor and imagination to provide vital services to their community of queer and trans people of color. ",
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"headline": "Bay Brilliant: Peacock Rebellion",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Using humor and imagination as survival tools is a guiding principle for Peacock Rebellion, an East Oakland-based art and activism collective composed of queer and trans people of color. Led by Devi Peacock, Lexi Adsit, Q Quintero, Kathrin Cantin and Luna Merbruja, the group leverages its many creative talents to engage their communities in social justice causes.\u003c/p>\n\u003cp>Peacock Rebellion may be primarily known for \u003ca href=\"http://www.peacockrebellion.org/shows/\" target=\"_blank\" rel=\"noopener\">Brouhaha\u003c/a>, a hilarious and moving comedic storytelling showcase with a cast of trans women of color. But the group also offers services to the community: They banded together with several other activist-minded collectives to \u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\" target=\"_blank\" rel=\"noopener\">purchase a mixed-use building\u003c/a> on 23rd Avenue in Oakland through a land trust deal, securing affordable housing and commercial rent for activist groups and low-income residents. In their new headquarters, they lead performance workshops, offer access to technologies like 3D printers and industrial sewing machines, provide a low-cost event space and host events to activate their community in local politics.\u003c/p>\n\u003cp>The artist-activists in Peacock Rebellion reject the notion that big, bureaucratic nonprofits hold the keys to a more equitable future; instead, their focus is on people power. (They have a board of elders instead of a board of directors, consisting of Cherry Galette of Mangos with Chili, writer-activist Jen-Mei Wu, game developer and author Micha Cárdenas, Kebo Drew of Queer Women of Color Media Arts Project, Pam Peniston of the Queer Cultural Center and musician and filmmaker StormMiguel Florez.)\u003c/p>\n\u003cp>Despite the many institutional barriers and -isms faced by queer and trans people of color, Peacock Rebellion fights for change through their artistry, always keeping their vision for a better world front of mind.\u003c/p>\n\u003cfigure id=\"attachment_13839240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg\" alt=\"Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you sum up the mission of Peacock Rebellion? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> How do we sum up the mission? Oh, my gosh. First, it came out of a lot of stuff I was doing with [the queer and trans people of color (QTPOC) performance collective] Mangos With Chili, and then I was performing in Queer Rebels and a bunch of these QTPOC groups in the Bay. I was also in art school at Goddard, and I dropped out of art school because I was spending more time organizing students and faculty of color dealing with institutionalized racism than I was working on my art.\u003c/p>\n\u003cp>That’s the one part, and then the other part was I was burning out as an organizer. I was way more effective with a microphone than a megaphone. I was able to move people on stage with social justice messages through my comedy, but in my organizing I wasn’t necessarily reaching the people who weren’t already coming to a march or a protest.\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I guess I would also just add that in recent years we’ve really centered the organization around trans women of color and trans femmes of color. When I entered the organization in 2012, I was a part of the stand-up cohort. There was a transphobia that came up in that cohort, and me and a number of other trans women of color at the time were really noticing a lack of visible trans women of color artists and art shows. I think Devi did a really amazing job in giving Peacock the space and platform where trans women of color and trans femmes of color can access free, quality arts training and support in that way.\u003c/p>\n\u003cfigure id=\"attachment_13839239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg\" alt=\"Lexi Adsit of Peacock Rebellion.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lexi Adsit of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It seems like the power of the collective is very important to your vision. You guys have a core leadership group of five people, right? Could you talk about the importance of collaboration in making your projects possible? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Yeah, I think Devi and I both have a lot of experience navigating the nonprofit industrial complex. There’s such a hierarchy [within nonprofits] that repeats very problematic power dynamics. For us, we’re really unique in the sense that we also have a board of elders that don’t really get seen as much but they’re super amazing and provide us a lot of really wonderful feedback and insights.\u003c/p>\n\u003cp>Our structure is really set up in a way where it’s not just one person making the decisions. There’s the core group of five of us, but we’re all still receiving feedback from our artists all the time, or the board of elders all the time, or our community partners and other organizations that we work closely with all the time. We use all that information to really inform our politics and the things that we promote in terms of our newsletter or calls to action.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, for me, the idea that somehow the success of an organization is dependent on one person is just such bullsh-t. Everybody’s brilliance actually creates the whole.\u003c/p>\n\u003cp>We need to center femme leadership. That’s why actually almost all of what we do is, I would say, femme emotional labor. The last Brouhaha, we turned it into a festival and 800 people came. Then within a matter of days, all these people showed up for court support [for someone in our community], and to donate directly to trans women of color, and call the DA to drop charges against a trans woman of color who was defending herself against an abuser.\u003c/p>\n\u003cp>All of that stuff is ultimately about the power of the collective. For us, it’s very low infrastructure on purpose, so that we can move very quickly.\u003c/p>\n\u003cfigure id=\"attachment_13839242\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg\" alt=\"The power of the collective is a guiding principle for the Peacock Rebellion crew.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The power of the collective is a guiding principle for the Peacock Rebellion crew. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s been over six months now since you guys officially bought your building on 23rd Avenue in Oakland. What have been some of the biggest challenges of that and the biggest rewards since buying it?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I think we’re just really fortunate in the situation that we’re in with the work that we do—with the cost of rent, the cost of living—we’re just truly really blessed to have this amazing space on this amazing block, and to have such awesome community partners like Eastside Arts Alliance, \u003ca href=\"http://oaklandsol.weebly.com/\" target=\"_blank\" rel=\"noopener\">Sustaining Ourselves Locally\u003c/a> (SOL), \u003ca href=\"https://www.cyclesofchange.org/bike_shop_the_bikery\" target=\"_blank\" rel=\"noopener\">The Bikery\u003c/a>—all these places that are just right next door to us that are kinship partners.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> For me, I think similarly the blessings around it are because of the collective power. For example, the day that we got that email from our landlord being like, “Hey, I’m going to sell the building in 90 days,” I absolutely cried. And then very quickly we rolled up our sleeves and were like, “All right, well, I guess we’re buying a building.”\u003c/p>\n\u003cp>Our reality as mostly marginalized people is that we’re struggling just to survive day-to-day on top of everything else. The Bikery got robbed a couple days ago. Yesterday there was a fire at The Village, which is just down the block, and we have a close relationship with them as well.\u003c/p>\n\u003cp>How do we, as a collective of collectives, shape something, go out of crisis mode? How do we dream futures where we’re at the center and we can actually thrive?\u003c/p>\n\u003cfigure id=\"attachment_13839241\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg\" alt=\"Katherin Canton of Peacock Rebellion. \" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katherin Canton of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nWhat programs are you currently running out of your space in addition to Brouhaha?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> Currently, our office is closed for renovations, but when we are not closed for renovations we run a monthly maker day. We have this industrial sewing machine, we have 3D printers, we have a strong base of coders and folks involved in tech.\u003c/p>\n\u003cp>We’re currently in talks with an organization to do a writing group. Then we’re preparing for a big spring show, and that’s going to be more of a cabaret-style show, and it’s going to be on mental health.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah. The spring show is called Magic Mirrors. Luna Merbruja is artistic-directing it. As it’s scheduled, it’s all trans people of color and looking at mental illness as a kind of brilliance.\u003c/p>\n\u003cp>Then we just had a call yesterday to firm up the writing series. It’s a month-long series that’s all trans femmes. That is in collaboration with \u003ca href=\"https://www.heartsparkpress.com/\" target=\"_blank\" rel=\"noopener\">Heartspark Press\u003c/a>, which is an amazing trans press. Luna is actually also teaching that workshop series.\u003c/p>\n\u003cp>The maker days are all focused around social justice. One recent maker day was called We Are Gems. Nastia, brace yourself, because it is all on \u003cem>Steven Universe\u003c/em>. You’ve seen \u003cem>Steven Universe\u003c/em>, yeah?\u003c/p>\n\u003cp>\u003cstrong>Oh, I actually haven’t.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> I just watched all five seasons in like two weeks. That’s like a couple hundred episodes. It’s because I cannot believe that that show is on TV, that the government has not shut it down, because I’m like, “This is f-cking incredible.” There’s a lot of queer and trans visibility in the characters, and it’s all about social justice.\u003c/p>\n\u003cfigure id=\"attachment_13839244\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg\" alt=\"Q Quintero of Peacock Rebellion.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Q Quintero of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nI had no idea! \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, like all around empire, capitalism, PTSD, police brutality. There’s all this stuff they cover somehow on this children’s cartoon. So we had this maker day called We Are Gems. Each character [in the show] is a gem, like an amethyst, a rose quartz or that kind of thing. People would actually have to design their gem and then identify their own personal traits in their relationship to social justice.\u003c/p>\n\u003cp>Then we encouraged them to think about what are your core values, and how do you see them in terms of shaping the cultural practices in Oakland? The \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/cultural-plan/index.htm\" target=\"_blank\" rel=\"noopener\">City of Oakland’s Cultural Plan\u003c/a> is being rewritten for the first time in 30 years, and the last version of the cultural plan is not even a little about equity.\u003c/p>\n\u003cp>We had copies of the City of Oakland’s Cultural Plan, and people, together as a collective of people who had never met before, [used the gem project] to shape their own talking points. We took those talking points, and then we had stations set up for people to call and email the City of Oakland with their ideas about what they want to see in the Cultural Plan. Then we sent the collectively written talking points to our email list with a call-to-action button.\u003c/p>\n\u003cp>\u003cstrong>What would be your wildest dreams of what you can do with your new space? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Something we are dreaming about and thinking about how to make happen is we want to turn one of the back rooms into a sound studio. People would be able to do podcasts, or record music or audio, or we would be able to run programs out of there.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> I’m also interested in shifting the maker days into an \u003ca href=\"https://www.akpress.org/emergentstrategy.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Emergent Strategy\u003c/em>\u003c/a> training series [based on Adrienne Maree Brown’s radical self-help book]. We’d be taking people through a yearlong study of the \u003cem>Emergent Strategy\u003c/em> framework and book. One example is that a couple months ago someone lit a blanket on fire and threw it over the fence and half of the yard next to us burned. The fire department never came.\u003c/p>\n\u003cp>\u003cstrong>Oh my god, that’s terrible.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> We had gone through training on how to use fire extinguishers and stuff, so people from The Bikery ran over and put out the fire. We need to be able to be ready to provide our own solutions, and this is something a lot of people in the building are talking about. So, how do we build out safety teams? We had a skinhead come to the door a couple weeks after the election. I was the only one there, and the person held up this sharpened object to my neck. Spoiler alert, I’m still here. I’m alive.\u003c/p>\n\u003cp>\u003cstrong>That sounds terrifying!\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> Yeah, it was not the highlight of my day, I will say that. The thing about that, this sh-t is real and I never thought that that would happen in East Oakland, like ever. But, yeah, this sh-t is everywhere.\u003c/p>\n\u003cp>Yeah, so being like what does that look like, what does that look like if there were a giant earthquake or whatever it is, something happens and you lose your communication channels, what do you do? What skills do you have, what can you contribute to the thing, how do you communicate to your crew, who is your crew, what are your plans that are in place.\u003c/p>\n\u003cp>And then also I just want to write some f-cking jokes. You know how there’s \u003cem>Saturday Night Live\u003c/em>? I want to do a thing that’s called \u003cem>Sunday Night Dead\u003c/em>, and do kind of a weekly in-person show where we actually talk about the news, but we talk about it in a way that’s not just trauma-informed but healing-centered with our people, but all comedy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> That is super easy to answer. I guess starting with the basics, I would love artists to have the ability to live in the Bay Area, survive in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Instantly when you said that, I was just like, “Artists need to get paid!” You know? But the truth is, we also need an end to capitalism.\u003c/p>\n\u003cp>What’s true is that our people’s survival always depends on creativity. We have to be able to imagine worlds with ourselves going beyond survival. What I’m hoping for and I think what we’re trying to plant seeds for is that everyone actually sees themselves as an artist and as a creative person, and that we can through that collective creativity imagine worlds together and build worlds together where everyone is held, and cherished, and valued, everybody has dignity, everybody has love, everybody has access. Frankly, around the basics also, everyone should have free, clean access to water and clean air.\u003c/p>\n\u003cp>Also, b-tches need to get paid.\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>Learn more about Peacock Rebellion \u003ca href=\"http://www.peacockrebellion.org/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Although the prolific theatre artist Lisa Marie Rollins identifies primarily as a writer and director, her resume virtually bursts at the seams. She’s an academic, educator, activist, artist and poet. She’s been a Sundance Theatre Fellow, a \u003cem>Colorlines\u003c/em> “Innovator to Watch,” and has an upcoming Djerassi residency for playwriting in September. A powerhouse in word and deed, she’s directed some of the Bay Area’s most thought-provoking and unique productions, including the 2017 West Coast premiere of \u003cem>Hooded\u003c/em>, or \u003cem>Being Black for Dummies\u003c/em> at Custom Made Theatre, and co-directing Crowded Fire’s 2016 production of \u003cem>The Shipment\u003c/em>.\u003c/p>\n\u003cp>Adopted by white parents who refused to acknowledge her black and Filipino ancestry, race consciousness came to Rollins the hard way, by being persistently “othered” by her all-white, conservative Washington State community. Later in life, academia and activism helped develop her artistic imperative for telling not only her own story, but those of others—a key component to her work as a dramaturg and director. Currently an artist-in-residence at both Crowded Fire and Brava Theater, Rollins plans to eventually bring her talents on the road as a traveling director and playwright. \u003c/p>\n\u003cfigure id=\"attachment_13839431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-800x571.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re about to head off to Djerassi to work on your play \u003cem>Token\u003c/em>. What’s your elevator pitch or synopsis of it?\u003c/strong>\u003c/p>\n\u003cp>Because I grew up in Washington State, I pay attention to a lot of the adoption news from there. And there was a little girl and her brother adopted from Ethiopia into this very conservative, evangelical Christian family that followed this particular type of childrearing practice that includes physical punishment—more than just spankings. And they left her outside in the winter, and she died from a combination of starvation, and hypothermia, and drowning, because she fell with her face in a pool of water and didn’t have the strength to move herself. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So this play is based \u003ca href=\"https://en.wikipedia.org/wiki/Death_of_Hana_Grace-Rose_Williams\" rel=\"noopener\" target=\"_blank\">on that\u003c/a>. Basically, there’s a little girl who haunts an adult adoptee, and the adult comes back to her hometown and the little girl is trying to get her attention and talk to her about how she died. It’s sort of a ghost story, sort of a spiritual declaration for the adult woman, and a comment on both the destruction of black families and how to find reconciliation when your ‘original’ family has been torn apart.\u003c/p>\n\u003cp>\u003cstrong>A lot of your writing and playwriting focuses on themes of transracial adoption and identity. Describe what these themes mean to you personally and how they drive you and your work. \u003c/strong>\u003c/p>\n\u003cp>I’d say some of my writing used to focus on themes of transracial adoption but now when I focus on that, whether in writing or directing, it’s expanded beyond that narrative specifically to examine the role government agencies play in denying women of color the right to parent. So it includes considerations of things like the current visibility of the crisis of child removal from detainees.\u003c/p>\n\u003cp>Transracial adoption is part of how I came into my racial consciousness and my understanding of the specific circumstances for black people in the United States. I was born in Washington state and raised with a very conservative, evangelical Christian, Republican family. Being a black and pinay little girl in an all-white setting is a very surreal experience. My parents had been told I ‘wasn’t black’ on the adoption papers, and thus moved me through my younger years with this sensibility. \u003c/p>\n\u003cp>Growing up as a black/brown body in an all-white world, with no mirrors or images that reflect you, can have an extraordinarily damaging impact on how you imagine yourself. But because I was a very smart little girl, I was able to understand when people were being unfair, or when someone was just outright racist, even if I didn’t have those words to identity what was happening. \u003c/p>\n\u003cfigure id=\"attachment_13839430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-800x571.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Talk about your experiences with \u003ca href=\"http://www.soloperformanceworkshop.org/\" rel=\"noopener\" target=\"_blank\">Solo Performance Workshop\u003c/a>. Was that your entry into theatre, or a part of your development as a theatre artist?\u003c/strong>\u003c/p>\n\u003cp>I was there from the very beginning, at the very first class facilitated by W. Kamau Bell! I had already been inside the theatre, working backstage or producing, and I really took the Solo Performance Workshop because I wanted to experiment with writing for the stage. That turned into the development of my first play (\u003cem>Ungrateful Daughter\u003c/em>). \u003c/p>\n\u003cp>Moving into directing…people just started asking me to direct their shows, because they knew me from assistant teaching at SPW, and it was just the perfect fit for my sensibility, and the way that I was interested in people developing and sharing their stories. At some point I was asked to dramaturg on larger ensemble pieces. Working with Kamau on the development of his show (\u003cem>The Bell Curve: Ending Racism in About an Hour\u003c/em>) and learning from his years of experience performing on the comedy stage was also really invaluable to how I thought, and learned to think about audiences early on. So yes, SPW was definitely key to a lot of my artistic development. \u003c/p>\n\u003cp>\u003cstrong>How are you able to make a living as an artist given that we live in a very expensive region? What are some of the more creative ways you stay solvent? \u003c/strong>\u003c/p>\n\u003cp>I’ll be absolutely clear that if I didn’t have rent control I would be unable to live here in the Bay Area. Secondly, I’m also a woman who knows what I’m worth. I know what my peers make and I know what white men make and since I do that work—plus the work of supporting and forcing you to change the culture of your institution, not only by my presence but by my willingness to participate in the hard labor of that change—you need to pay me for that shit. Finally, I’ve been teaching on the University level for about 20 years as an adjunct, specifically because I never wanted a full time position. I found an educational home that respects me as an artist and understands that I sit comfortably inside both the academic world and the artist world, and that also helps.\u003c/p>\n\u003cfigure id=\"attachment_13839522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-800x1200.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13839522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Nathan Yungerberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The thing about other countries is that the arts are subsidized by the government, and so being an artist is just as much of a profession as being anything else. So I would love to see the Bay Area become a place where theatrical institutions are just as supported, so that they can pay people equitable pay. And that, all the way down to the intern, people can actually afford to live here and be able to have the space and time to create rather than just doing a job to get by. It shouldn’t have to be a hustle.\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>Find more on Lisa Marie Rollins \u003ca href=\"https://twitter.com/thirdrootprod\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Although the prolific theatre artist Lisa Marie Rollins identifies primarily as a writer and director, her resume virtually bursts at the seams. She’s an academic, educator, activist, artist and poet. She’s been a Sundance Theatre Fellow, a \u003cem>Colorlines\u003c/em> “Innovator to Watch,” and has an upcoming Djerassi residency for playwriting in September. A powerhouse in word and deed, she’s directed some of the Bay Area’s most thought-provoking and unique productions, including the 2017 West Coast premiere of \u003cem>Hooded\u003c/em>, or \u003cem>Being Black for Dummies\u003c/em> at Custom Made Theatre, and co-directing Crowded Fire’s 2016 production of \u003cem>The Shipment\u003c/em>.\u003c/p>\n\u003cp>Adopted by white parents who refused to acknowledge her black and Filipino ancestry, race consciousness came to Rollins the hard way, by being persistently “othered” by her all-white, conservative Washington State community. Later in life, academia and activism helped develop her artistic imperative for telling not only her own story, but those of others—a key component to her work as a dramaturg and director. Currently an artist-in-residence at both Crowded Fire and Brava Theater, Rollins plans to eventually bring her talents on the road as a traveling director and playwright. \u003c/p>\n\u003cfigure id=\"attachment_13839431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-800x571.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re about to head off to Djerassi to work on your play \u003cem>Token\u003c/em>. What’s your elevator pitch or synopsis of it?\u003c/strong>\u003c/p>\n\u003cp>Because I grew up in Washington State, I pay attention to a lot of the adoption news from there. And there was a little girl and her brother adopted from Ethiopia into this very conservative, evangelical Christian family that followed this particular type of childrearing practice that includes physical punishment—more than just spankings. And they left her outside in the winter, and she died from a combination of starvation, and hypothermia, and drowning, because she fell with her face in a pool of water and didn’t have the strength to move herself. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So this play is based \u003ca href=\"https://en.wikipedia.org/wiki/Death_of_Hana_Grace-Rose_Williams\" rel=\"noopener\" target=\"_blank\">on that\u003c/a>. Basically, there’s a little girl who haunts an adult adoptee, and the adult comes back to her hometown and the little girl is trying to get her attention and talk to her about how she died. It’s sort of a ghost story, sort of a spiritual declaration for the adult woman, and a comment on both the destruction of black families and how to find reconciliation when your ‘original’ family has been torn apart.\u003c/p>\n\u003cp>\u003cstrong>A lot of your writing and playwriting focuses on themes of transracial adoption and identity. Describe what these themes mean to you personally and how they drive you and your work. \u003c/strong>\u003c/p>\n\u003cp>I’d say some of my writing used to focus on themes of transracial adoption but now when I focus on that, whether in writing or directing, it’s expanded beyond that narrative specifically to examine the role government agencies play in denying women of color the right to parent. So it includes considerations of things like the current visibility of the crisis of child removal from detainees.\u003c/p>\n\u003cp>Transracial adoption is part of how I came into my racial consciousness and my understanding of the specific circumstances for black people in the United States. I was born in Washington state and raised with a very conservative, evangelical Christian, Republican family. Being a black and pinay little girl in an all-white setting is a very surreal experience. My parents had been told I ‘wasn’t black’ on the adoption papers, and thus moved me through my younger years with this sensibility. \u003c/p>\n\u003cp>Growing up as a black/brown body in an all-white world, with no mirrors or images that reflect you, can have an extraordinarily damaging impact on how you imagine yourself. But because I was a very smart little girl, I was able to understand when people were being unfair, or when someone was just outright racist, even if I didn’t have those words to identity what was happening. \u003c/p>\n\u003cfigure id=\"attachment_13839430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-800x571.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LMRollins_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Talk about your experiences with \u003ca href=\"http://www.soloperformanceworkshop.org/\" rel=\"noopener\" target=\"_blank\">Solo Performance Workshop\u003c/a>. Was that your entry into theatre, or a part of your development as a theatre artist?\u003c/strong>\u003c/p>\n\u003cp>I was there from the very beginning, at the very first class facilitated by W. Kamau Bell! I had already been inside the theatre, working backstage or producing, and I really took the Solo Performance Workshop because I wanted to experiment with writing for the stage. That turned into the development of my first play (\u003cem>Ungrateful Daughter\u003c/em>). \u003c/p>\n\u003cp>Moving into directing…people just started asking me to direct their shows, because they knew me from assistant teaching at SPW, and it was just the perfect fit for my sensibility, and the way that I was interested in people developing and sharing their stories. At some point I was asked to dramaturg on larger ensemble pieces. Working with Kamau on the development of his show (\u003cem>The Bell Curve: Ending Racism in About an Hour\u003c/em>) and learning from his years of experience performing on the comedy stage was also really invaluable to how I thought, and learned to think about audiences early on. So yes, SPW was definitely key to a lot of my artistic development. \u003c/p>\n\u003cp>\u003cstrong>How are you able to make a living as an artist given that we live in a very expensive region? What are some of the more creative ways you stay solvent? \u003c/strong>\u003c/p>\n\u003cp>I’ll be absolutely clear that if I didn’t have rent control I would be unable to live here in the Bay Area. Secondly, I’m also a woman who knows what I’m worth. I know what my peers make and I know what white men make and since I do that work—plus the work of supporting and forcing you to change the culture of your institution, not only by my presence but by my willingness to participate in the hard labor of that change—you need to pay me for that shit. Finally, I’ve been teaching on the University level for about 20 years as an adjunct, specifically because I never wanted a full time position. I found an educational home that respects me as an artist and understands that I sit comfortably inside both the academic world and the artist world, and that also helps.\u003c/p>\n\u003cfigure id=\"attachment_13839522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-800x1200.jpg\" alt=\"Lisa Marie Rollins.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13839522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LisaMarieRollinsheadshot-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Marie Rollins. \u003ccite>(Nathan Yungerberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The thing about other countries is that the arts are subsidized by the government, and so being an artist is just as much of a profession as being anything else. So I would love to see the Bay Area become a place where theatrical institutions are just as supported, so that they can pay people equitable pay. And that, all the way down to the intern, people can actually afford to live here and be able to have the space and time to create rather than just doing a job to get by. It shouldn’t have to be a hustle.\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>Find more on Lisa Marie Rollins \u003ca href=\"https://twitter.com/thirdrootprod\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Composer \u003ca href=\"http://henrymollicone.com\" target=\"_blank\" rel=\"noopener\">Henry Mollicone\u003c/a> was a young man 40 years ago when the \u003ca href=\"https://centralcityopera.org\" target=\"_blank\" rel=\"noopener\">Central City Opera Company\u003c/a> in Colorado commissioned him to write something short, something its younger singers could cut their teeth on. \u003c/p>\n\u003cp>“To our great shock it caught on like wildfire,” he says.\u003c/p>\n\u003cp>Mollicone, a South Bay local, doesn’t have an exact count as to how many times \u003ci>The Face on the Barroom Floor\u003c/i> has been performed since 1978, but it’s well north of 700. \u003c/p>\n\u003cp>“Unbelievable. We had no idea that it would become a popular work,” he says.\u003c/p>\n\u003cp>No, that’s not a common fate for most modern American operas, even for Mollicone, who’s written more than one popular work in a long, successful career as a composer. Mollicone suspects this opera’s enduring appeal is tied to the fact that it’s cheap to perform.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s only three instruments and three singers, and all you need is a set, the barroom set. Or even better, perform it in a barroom,” Mollicone says. \u003c/p>\n\u003cp>Also, there’s the engaging libretto by John Bowman, inspired by a locally-famous painting of a pretty woman’s face on the floor of a hotel bar near the Central City Opera House. The Denver artist who created it, Herndon Davis, was said to have used his wife Juanita as the model, but the concept was inspired by Hugh Antoine D’Arcy’s 1887 poem, \u003ca href=\"https://en.wikipedia.org/wiki/The_Face_upon_the_Barroom_Floor\" target=\"_blank\" rel=\"noopener\">\u003cem>The Face Upon the Floor\u003c/em>\u003c/a>. Here’s a wee excerpt to give you an idea:\u003c/p>\n\u003cdl>\n\u003cdd>\u003cem>Say boys, if you give me just another whiskey, I’ll be glad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And I’ll draw right here a picture, of the face that drove me mad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>Give me that piece of chalk with which you mark the baseball score\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And you shall see the lovely Madeline upon the barroom floor.\u003c/em>\u003c/dd>\n\u003c/dl>\n\u003cp>The poem, it must be said, is a little dated. But it wasn’t anything more than a loose inspiration for the opera. “We created our own story,” Mollicone says.\u003c/p>\n\u003cfigure id=\"attachment_13839328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg\" alt=\"The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John. \u003ccite>(Photo: Courtesy of Amanda Tipton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opera tells two tales, separated in time, and parallel in character and theme. The poem’s Madeline becomes a saloon girl in a 19th-century gold mining camp. Her modern counterpart, sung by the same singer, is Isabel, an ambitious up-and-comer in the Central City Opera chorus. Both are loved by two men, and as the opera moves between centuries, the parallel plots come to the same tragic end — all in less than half an hour.\u003c/p>\n\u003cp>Mollicone’s music is accessible, even to non-opera fans, as it draws liberally from jazz and musical theater. “It’s melodic. Like many of my operas, it has popular jazz elements woven into an operatic texture. I call a lot of my operatic works crossover pieces,” he says.\u003c/p>\n\u003cp>Barbara Day Turner and \u003ca href=\"https://www.danielhelfgot.com\" target=\"_blank\" rel=\"noopener\">Daniel Helfgot\u003c/a>, a super couple in the South Bay opera world working on the latest rendition of \u003cem>The Face\u003c/em>, agree. Turner is the founder and music director of the \u003ca href=\"https://sjco.org\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>, which is performing \u003ci>The Face on the Barroom Floor\u003c/i> at \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" target=\"_blank\" rel=\"noopener\">3Below Theaters\u003c/a>.\u003c/p>\n\u003cp>Helfgot is a stage director. “We love Henry Mollicone’s musical language. We’ve done at least three of his operas,” he says.\u003c/p>\n\u003cp>“He really is a treasure,” says Turner, who recalls performing \u003cem>Face on the Barroom Floor\u003c/em> roughly 30 years ago with \u003ca href=\"https://www.operasj.org\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>, back when the space \u003ca href=\"http://www.cafestritch.com\" target=\"_blank\" rel=\"noopener\">Cafe Stritch\u003c/a> now occupies was the Eulipia Restaurant and Bar.\u003c/p>\n\u003cp>If you’re thinking a half hour is rather short for a schlep to downtown San Jose, you’ll be pleased to hear there’s more to the evening than the opera. Its performance will be preceded by a selection of Mollicone’s other works, as well as a clip from a 2013 documentary, \u003cem>The Face On The Barroom Floor: The Poem, The Place, The Opera.\u003c/em>\u003cbr>\n[youtube https://www.youtube.com/watch?v=QnKiW8AP4CQ]\u003c/p>\n\u003cp>As for why Turner believes the opera hasn’t aged out of the opera world’s repertoire? “Human relationships and artistry: It’s a story that’s not tied to a time.”\u003c/p>\n\u003cp>Helfgot adds, “Most opera was written reflecting some contemporary issues. The fact that they survive the time is because the musical language is valuable. Most operas premiere and you never hear about them again. So the fact that [\u003cem>The\u003c/em> \u003cem>Face on the Barroom Floor\u003c/em>] has been around for forty years is a really good sign.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Face on the Barroom Floor\u003c/strong> plays August 24-26, 2018 at 3Below Theaters in San Jose. For more information, click \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" 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>Composer \u003ca href=\"http://henrymollicone.com\" target=\"_blank\" rel=\"noopener\">Henry Mollicone\u003c/a> was a young man 40 years ago when the \u003ca href=\"https://centralcityopera.org\" target=\"_blank\" rel=\"noopener\">Central City Opera Company\u003c/a> in Colorado commissioned him to write something short, something its younger singers could cut their teeth on. \u003c/p>\n\u003cp>“To our great shock it caught on like wildfire,” he says.\u003c/p>\n\u003cp>Mollicone, a South Bay local, doesn’t have an exact count as to how many times \u003ci>The Face on the Barroom Floor\u003c/i> has been performed since 1978, but it’s well north of 700. \u003c/p>\n\u003cp>“Unbelievable. We had no idea that it would become a popular work,” he says.\u003c/p>\n\u003cp>No, that’s not a common fate for most modern American operas, even for Mollicone, who’s written more than one popular work in a long, successful career as a composer. Mollicone suspects this opera’s enduring appeal is tied to the fact that it’s cheap to perform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s only three instruments and three singers, and all you need is a set, the barroom set. Or even better, perform it in a barroom,” Mollicone says. \u003c/p>\n\u003cp>Also, there’s the engaging libretto by John Bowman, inspired by a locally-famous painting of a pretty woman’s face on the floor of a hotel bar near the Central City Opera House. The Denver artist who created it, Herndon Davis, was said to have used his wife Juanita as the model, but the concept was inspired by Hugh Antoine D’Arcy’s 1887 poem, \u003ca href=\"https://en.wikipedia.org/wiki/The_Face_upon_the_Barroom_Floor\" target=\"_blank\" rel=\"noopener\">\u003cem>The Face Upon the Floor\u003c/em>\u003c/a>. Here’s a wee excerpt to give you an idea:\u003c/p>\n\u003cdl>\n\u003cdd>\u003cem>Say boys, if you give me just another whiskey, I’ll be glad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And I’ll draw right here a picture, of the face that drove me mad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>Give me that piece of chalk with which you mark the baseball score\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And you shall see the lovely Madeline upon the barroom floor.\u003c/em>\u003c/dd>\n\u003c/dl>\n\u003cp>The poem, it must be said, is a little dated. But it wasn’t anything more than a loose inspiration for the opera. “We created our own story,” Mollicone says.\u003c/p>\n\u003cfigure id=\"attachment_13839328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg\" alt=\"The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John. \u003ccite>(Photo: Courtesy of Amanda Tipton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opera tells two tales, separated in time, and parallel in character and theme. The poem’s Madeline becomes a saloon girl in a 19th-century gold mining camp. Her modern counterpart, sung by the same singer, is Isabel, an ambitious up-and-comer in the Central City Opera chorus. Both are loved by two men, and as the opera moves between centuries, the parallel plots come to the same tragic end — all in less than half an hour.\u003c/p>\n\u003cp>Mollicone’s music is accessible, even to non-opera fans, as it draws liberally from jazz and musical theater. “It’s melodic. Like many of my operas, it has popular jazz elements woven into an operatic texture. I call a lot of my operatic works crossover pieces,” he says.\u003c/p>\n\u003cp>Barbara Day Turner and \u003ca href=\"https://www.danielhelfgot.com\" target=\"_blank\" rel=\"noopener\">Daniel Helfgot\u003c/a>, a super couple in the South Bay opera world working on the latest rendition of \u003cem>The Face\u003c/em>, agree. Turner is the founder and music director of the \u003ca href=\"https://sjco.org\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>, which is performing \u003ci>The Face on the Barroom Floor\u003c/i> at \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" target=\"_blank\" rel=\"noopener\">3Below Theaters\u003c/a>.\u003c/p>\n\u003cp>Helfgot is a stage director. “We love Henry Mollicone’s musical language. We’ve done at least three of his operas,” he says.\u003c/p>\n\u003cp>“He really is a treasure,” says Turner, who recalls performing \u003cem>Face on the Barroom Floor\u003c/em> roughly 30 years ago with \u003ca href=\"https://www.operasj.org\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>, back when the space \u003ca href=\"http://www.cafestritch.com\" target=\"_blank\" rel=\"noopener\">Cafe Stritch\u003c/a> now occupies was the Eulipia Restaurant and Bar.\u003c/p>\n\u003cp>If you’re thinking a half hour is rather short for a schlep to downtown San Jose, you’ll be pleased to hear there’s more to the evening than the opera. Its performance will be preceded by a selection of Mollicone’s other works, as well as a clip from a 2013 documentary, \u003cem>The Face On The Barroom Floor: The Poem, The Place, The Opera.\u003c/em>\u003cbr>\n\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/QnKiW8AP4CQ'\n title='//www.youtube.com/embed/QnKiW8AP4CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As for why Turner believes the opera hasn’t aged out of the opera world’s repertoire? “Human relationships and artistry: It’s a story that’s not tied to a time.”\u003c/p>\n\u003cp>Helfgot adds, “Most opera was written reflecting some contemporary issues. The fact that they survive the time is because the musical language is valuable. Most operas premiere and you never hear about them again. So the fact that [\u003cem>The\u003c/em> \u003cem>Face on the Barroom Floor\u003c/em>] has been around for forty years is a really good sign.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Face on the Barroom Floor\u003c/strong> plays August 24-26, 2018 at 3Below Theaters in San Jose. For more information, click \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "#GetGandhi: A Distinctly San Francisco Comedy Reaching for a Larger Message | KQED",
"content": "\u003cp>Tucked near the Golden Gate Ferry terminal at the Embarcadero, presiding over the weekend Farmer’s Market, strides a bronze statue of Gandhi. It clutches a staff in one hand, and raises the other in a peaceful gesture. “My Life is My Message,” reads the inscription on the base.\u003c/p>\n\u003cp>You might not have known the statue even existed before seeing local playwright Anne Galjour’s newest work \u003cem>#GetGandhi\u003c/em>, which runs through Aug. 26 at Z Below. But afterward, you might feel the need to go see it for yourself—if only to check if it’s still there.\u003c/p>\n\u003cfigure id=\"attachment_13838961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838961\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sisterhood of the Traveling Pantsuits Theatre Collective: Anne Galjour, Patricia Silver, Jeri Lynn Cohen, and Nancy Carlin. \u003ccite>(Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed with gusto by Nancy Carlin—who, with Galjour, plus actors Jeri Lynn Cohen and Patricia Silver, make up the newly formed Sisterhood of the Traveling Pantsuits Theatre Collective—\u003cem>#GetGandhi\u003c/em> views the mythology of the Mahatma through a #MeToo lens, and finds him disappointingly wanting. So much so, in fact, that aging yoga instructor Helen (played by Cohen) and her academic, first-wave feminist friend Miriam (played by Silver) hatch a plot to knock the statue from its pedestal, simultaneously knocking down the myth of Gandhi. \u003c/p>\n\u003cp>At the core of their censure is Gandhi’s controversial habit of practicing celibacy, or \u003cem>brahmacharya\u003c/em>, by asking female followers, even his grand-niece Manu, to sleep naked by his side. While Miriam, Helen and their millennial counterpart Maya (Miranda Swain) may bicker about semantics (are these actions severe enough to label Gandhi a rapist, or merely a “bad man?”), they eventually come to a consensus around the \u003cem>necessity\u003c/em> of removing the statue. The only obstacle being: \u003cem>how\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_13838975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miranda Swain, Jeri Lynn Cohen, and Patricia Silver flesh out their plan to #GetGandhi. \u003ccite>(Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the surface, \u003cem>#GetGandhi\u003c/em> could be classified as a madcap, low-stakes crime caper. With Miriam as ringleader, and Helen’s baffled family members as foils—her laid-back, NorCal husband Bob (Howard Swain) and exasperated Republican daughter Rebecca (Lyndsy Kail)—Galjour frequently uses her characters to articulate the messaging and inevitable branching out of feminist theory. She underscores the rhetorical and generational divides between acerbic bra-burning Miriam and her feisty acolyte Maya—who loves her hero sincerely, but is not afraid to push back against what she considers outdated mores and attitudes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In one scene, they dicker over whether or not they’ve reached a consensus fairly. In another, they squabble over the use of the word “bitch,” a word that Maya announces is being reclaimed, to Miriam’s dismay. Galjour also positions go-with-the-flow Bob, the sole male in the ensemble, as a self-proclaimed “feminist,” but also has him deliver the line “you’re overreacting” to both of the main women in his life, quietly undermining his ally-ship even as his past life as a Cockette and stay-at-home dad bolsters it. Feminism is complicated, Galjour suggests, and it requires real work to parse what could define it, just as real work is required to parse the Gandhi-attributed inscription, “My Life is My Message.” If Gandhi’s life is his message, the statue-nappers point out furiously, then his legacy is the patriarchy, and #TimesUp for him.\u003c/p>\n\u003cfigure id=\"attachment_13838978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-800x918.jpg\" alt=\"\" width=\"800\" height=\"918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-800x918.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-768x882.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-960x1102.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-240x276.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-375x431.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-520x597.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob (Howard Swain) is not thrilled about Helen’s (Jeri Lynn Cohen) plan to #GetGandhi. \u003ccite>(Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a comedy, \u003cem>#GetGhandi\u003c/em> delivers a good many San Francisco-centric chuckles. Site-specific commentary abounds: a giddy rehashing of their midnight drive through the hills; references to Golden Gate Park, Ocean Beach, and the Castro; even an original controversy and protest surrounding the Gandhi statue is mentioned as a driving factor behind Miriam’s plan. Sliding-scale yoga classes, capes vs. tutus for four-year-old “princesses,” a hippie matriarch accusing her status-climbing daughter of being a “late-stage capitalist piglet” are all tropes perfectly tailored to a comfortably liberal, artsy San Francisco demographic. I can’t say how it might it play in Peoria, but for an evening out in the City, it does entertain.\u003c/p>\n\u003cfigure id=\"attachment_13838977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Howard Swain as Bob and Lyndsy Kail as his daughter Rebecca share a tender moment. \u003ccite>(Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And like those good-old consciousness-raising women’s liberation groups of yore, plus experience borne from time spent touring with the San Francisco Mime Troupe, the Sisterhood of the Traveling Pantsuits Theatre Collective does attempt to raise awareness in the audience it has. With a brief but passionate primer of India’s own feminist warriors, the \u003ca href=\"http://www.gulabigang.in\">Gulabi Gang\u003c/a>; a discourse against domestic violence; an acknowledgement of Miriam’s own privileged position as an academic with “a retirement plan with health benefits”; and egregious offenses committed by a figure long considered a paragon of virtue and nonviolence, \u003cem>#GetGhandi\u003c/em> offers some timely food for thought while still affording us the opportunity to poke a little fun at our own stereotypes.\u003c/p>\n\u003cp>It may not actually inspire anyone to advocate for removal of the statue from its current pedestal. But it might just cause folks to view it, and our ingrained habit of accepting heroes at face value, with a little more rigor.\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>‘#GetGandhi’ runs through Aug. 26 at Z Below. Details \u003ca href=\"http://www.zspace.org./getgandhi\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tucked near the Golden Gate Ferry terminal at the Embarcadero, presiding over the weekend Farmer’s Market, strides a bronze statue of Gandhi. It clutches a staff in one hand, and raises the other in a peaceful gesture. “My Life is My Message,” reads the inscription on the base.\u003c/p>\n\u003cp>You might not have known the statue even existed before seeing local playwright Anne Galjour’s newest work \u003cem>#GetGandhi\u003c/em>, which runs through Aug. 26 at Z Below. But afterward, you might feel the need to go see it for yourself—if only to check if it’s still there.\u003c/p>\n\u003cfigure id=\"attachment_13838961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838961\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Anne-GaljourPatricia-SilverJeri-Lynn-CohenNancy-Carlin_credit_JulieSchuchard.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sisterhood of the Traveling Pantsuits Theatre Collective: Anne Galjour, Patricia Silver, Jeri Lynn Cohen, and Nancy Carlin. \u003ccite>(Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed with gusto by Nancy Carlin—who, with Galjour, plus actors Jeri Lynn Cohen and Patricia Silver, make up the newly formed Sisterhood of the Traveling Pantsuits Theatre Collective—\u003cem>#GetGandhi\u003c/em> views the mythology of the Mahatma through a #MeToo lens, and finds him disappointingly wanting. So much so, in fact, that aging yoga instructor Helen (played by Cohen) and her academic, first-wave feminist friend Miriam (played by Silver) hatch a plot to knock the statue from its pedestal, simultaneously knocking down the myth of Gandhi. \u003c/p>\n\u003cp>At the core of their censure is Gandhi’s controversial habit of practicing celibacy, or \u003cem>brahmacharya\u003c/em>, by asking female followers, even his grand-niece Manu, to sleep naked by his side. While Miriam, Helen and their millennial counterpart Maya (Miranda Swain) may bicker about semantics (are these actions severe enough to label Gandhi a rapist, or merely a “bad man?”), they eventually come to a consensus around the \u003cem>necessity\u003c/em> of removing the statue. The only obstacle being: \u003cem>how\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_13838975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MirandaSwainJeriLynnCohenPatriciaSilver_credit_JulieSchuchard.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miranda Swain, Jeri Lynn Cohen, and Patricia Silver flesh out their plan to #GetGandhi. \u003ccite>(Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the surface, \u003cem>#GetGandhi\u003c/em> could be classified as a madcap, low-stakes crime caper. With Miriam as ringleader, and Helen’s baffled family members as foils—her laid-back, NorCal husband Bob (Howard Swain) and exasperated Republican daughter Rebecca (Lyndsy Kail)—Galjour frequently uses her characters to articulate the messaging and inevitable branching out of feminist theory. She underscores the rhetorical and generational divides between acerbic bra-burning Miriam and her feisty acolyte Maya—who loves her hero sincerely, but is not afraid to push back against what she considers outdated mores and attitudes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In one scene, they dicker over whether or not they’ve reached a consensus fairly. In another, they squabble over the use of the word “bitch,” a word that Maya announces is being reclaimed, to Miriam’s dismay. Galjour also positions go-with-the-flow Bob, the sole male in the ensemble, as a self-proclaimed “feminist,” but also has him deliver the line “you’re overreacting” to both of the main women in his life, quietly undermining his ally-ship even as his past life as a Cockette and stay-at-home dad bolsters it. Feminism is complicated, Galjour suggests, and it requires real work to parse what could define it, just as real work is required to parse the Gandhi-attributed inscription, “My Life is My Message.” If Gandhi’s life is his message, the statue-nappers point out furiously, then his legacy is the patriarchy, and #TimesUp for him.\u003c/p>\n\u003cfigure id=\"attachment_13838978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-800x918.jpg\" alt=\"\" width=\"800\" height=\"918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-800x918.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-768x882.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-960x1102.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-240x276.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-375x431.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard-520x597.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainJeriLynnCohen_credit_JulieSchuchard.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob (Howard Swain) is not thrilled about Helen’s (Jeri Lynn Cohen) plan to #GetGandhi. \u003ccite>(Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a comedy, \u003cem>#GetGhandi\u003c/em> delivers a good many San Francisco-centric chuckles. Site-specific commentary abounds: a giddy rehashing of their midnight drive through the hills; references to Golden Gate Park, Ocean Beach, and the Castro; even an original controversy and protest surrounding the Gandhi statue is mentioned as a driving factor behind Miriam’s plan. Sliding-scale yoga classes, capes vs. tutus for four-year-old “princesses,” a hippie matriarch accusing her status-climbing daughter of being a “late-stage capitalist piglet” are all tropes perfectly tailored to a comfortably liberal, artsy San Francisco demographic. I can’t say how it might it play in Peoria, but for an evening out in the City, it does entertain.\u003c/p>\n\u003cfigure id=\"attachment_13838977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/HowardSwainLyndsyKail_credit_JulieSchuchard.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Howard Swain as Bob and Lyndsy Kail as his daughter Rebecca share a tender moment. \u003ccite>(Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And like those good-old consciousness-raising women’s liberation groups of yore, plus experience borne from time spent touring with the San Francisco Mime Troupe, the Sisterhood of the Traveling Pantsuits Theatre Collective does attempt to raise awareness in the audience it has. With a brief but passionate primer of India’s own feminist warriors, the \u003ca href=\"http://www.gulabigang.in\">Gulabi Gang\u003c/a>; a discourse against domestic violence; an acknowledgement of Miriam’s own privileged position as an academic with “a retirement plan with health benefits”; and egregious offenses committed by a figure long considered a paragon of virtue and nonviolence, \u003cem>#GetGhandi\u003c/em> offers some timely food for thought while still affording us the opportunity to poke a little fun at our own stereotypes.\u003c/p>\n\u003cp>It may not actually inspire anyone to advocate for removal of the statue from its current pedestal. But it might just cause folks to view it, and our ingrained habit of accepting heroes at face value, with a little more rigor.\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>‘#GetGandhi’ runs through Aug. 26 at Z Below. Details \u003ca href=\"http://www.zspace.org./getgandhi\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Whether directing theater productions, mesmerizing audiences with her acrobatics-based performance art or teaching pole dancing to queer and trans people of color, \u003ca href=\"https://indiaskydavis.com\" target=\"_blank\" rel=\"noopener\">India Sky Davis\u003c/a> redefines what people think when they think of “the circus.”\u003c/p>\n\u003cp>Davis is the artistic director and co-founder of \u003ca href=\"https://www.facebook.com/topsyturvycircus/\" target=\"_blank\" rel=\"noopener\">Topsy Turvy Queer Circus\u003c/a>, the popular show that lights up San Francisco’s Brava Theater every year in the weeks leading up to Pride. Davis and co-founder Indi McCasey have devoted the past three years of Topsy Turvy to a trilogy called \u003cem>Paradise\u003c/em>, a three-part Afrosurrealist play about a fallen angel (played by Davis) who must navigate her way through mystical worlds to fix the order of the universe. An impressive feat of acrobatics and choreography, \u003cem>Paradise\u003c/em> offers a moving story arc about reclaiming one’s personal power.\u003c/p>\n\u003cp>Since its inception in 2012, Topsy Turvy has grown to become the foremost platform for queer circus arts in the Bay Area. Its cast is composed entirely of queer and trans people of color, and several of the cast members are also skilled sign language interpreters who sign while reciting lines and doing backflips. (No biggie.) And, of course, Topsy Turvy’s acting and acrobatics are dazzling.\u003c/p>\n\u003cp>No matter her artistic medium, Davis’ goal is to uplift her community, and the ultra-inclusive spirit of Topsy Turvy has attracted a huge, loyal and super-queer cult following—and sparked valuable conversations about access in performing arts spaces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/6He5W_LclZg\u003c/p>\n\u003cp>\u003cstrong>I’ve been to Topsy Turvy Queer Circus three times, and it’s so incredibly inclusive. I love that you have sign language as an active part of the show. Has the popularity of Topsy Turvy shifted the conversation in other queer spaces, especially about access for people with disabilities?\u003c/strong>\u003c/p>\n\u003cp>I feel like in the queer community—at least my queer, black, brown community in the Bay Area—there’s discussion and effort around making spaces accessible. Because there are people who have different access needs, I see more effort around having places that are physically accessible and also scent sensitive. But I don’t see as many spaces that have American Sign Language interpretation.\u003c/p>\n\u003cp>Sign language is such a huge, ingrained part of the show because of \u003ca href=\"https://twitter.com/bkazenmaddox?lang=en\" target=\"_blank\" rel=\"noopener\">Brandon Kazen-Maddox\u003c/a>, who’s an interpreter. He’s one of the main performers in the \u003cem>Paradise\u003c/em> series, and I’ve worked with him for over four years. He’s a huge advocate for accessibility to the deaf community. He’s black and queer, and he’s the child of deaf grandparents, so he grew up using sign language. He definitely did a lot of work to make sure that the show was accessible for deaf folks. And not even just accessible, but actually taking sign language to the next level and being really creative in its use and integrating it fully into the show.\u003c/p>\n\u003cp>Also there’s another person, Kevin Abrams, who came in during the second year of \u003cem>Paradise\u003c/em>. He is deaf, so he was brought in as another interpreter and also as another character in the show. The interpreters are characters, and the characters are interpreters.\u003c/p>\n\u003cfigure id=\"attachment_13839051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-800x571.jpg\" alt=\"India Sky Davis.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">India Sky Davis. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have so many different kinds of media that are part of \u003cem>Paradise\u003c/em>: there’s dance, acting and acrobatics, and then the video elements and original music. What’s your process of bringing the whole vision together? \u003c/strong>\u003c/p>\n\u003cp>It’s always really collaborative because it’s a huge project. When I got the idea to do \u003cem>Paradise\u003c/em>, I wanted to also create a platform for brilliant artists. Even creating the story, I created the characters based off of some of the performers that had been in Topsy Turvy who are friends of mine that I’ve worked with for a long time.\u003c/p>\n\u003cp>And so I definitely talked with everyone who’s in the show. I’m like, “This is what the character is,” and then they collaborated with me to bring that character to life. The first year, while I was creating the story, Indira Allegra was writing and I was helping with some edits. We were both writing the second year. And then this year has been the first year that I basically created and wrote the story all by myself. It was a lot of work, but it was also a great experience.\u003c/p>\n\u003cp>There’s people in the cast who are choreographing. I’m not doing everything: I’m giving direction. I’ll do a lot of curation, I’ll select music or even select musicians. \u003ca href=\"https://www.kqed.org/arts/13783251/spellling-a-highlight-at-three-day-black-brown-punk-festival\" target=\"_blank\" rel=\"noopener\">Spellling\u003c/a> did a lot of composing the past two years.\u003c/p>\n\u003cp>Here in the Bay Area, there’s a lot of really amazing and talented artists. My joy—and also, I guess, my practice—is to find people I think are really talented and ask them to lend their talents towards bringing this vision to life.\u003c/p>\n\u003cp>\u003cstrong>That’s a beautiful thing. So what compels you about circus arts as a storytelling medium?\u003c/strong>\u003c/p>\n\u003cp>I think what I like about acrobatic art and aerial dancing and pole dancing is that it’s larger than life. For me, having a super wild imagination—and, I think, wanting to communicate things that are maybe ethereal or hyper-imaginative or fantasy or very surreal—these movement practices where you can transform into anything is really appealing and interesting.\u003c/p>\n\u003cp>I think that I personally have a lot of challenge around the history of American circus. But for me, it’s a tool that I use to communicate these ideas and to bring fantasy and imagination to life.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Ftopsyturvycircus%2Fvideos%2F1527865423892209%2F&show_text=0&width=560\" width=\"560\" height=\"315\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>You’ve worked in other mediums. Before Topsy Turvy, you were known as a dancer with your group Body Waves, and you’ve done photography and solo performance art pieces. Could you tell me about a couple of those?\u003c/strong>\u003c/p>\n\u003cp>Yeah. When I was in undergrad at Antioch College in Ohio, I did theater and film and dance. I did a lot of video work, so that’s one of the reasons why every \u003cem>Paradise\u003c/em> has had video in it and it’s always a part of the story.\u003c/p>\n\u003cp>And then in terms of my solo work, I’m definitely pretty multidisciplinary. I just actually played [the underground music festival] \u003ca href=\"https://www.kqed.org/arts/13838574/the-multivers-is-illuminated-festival-spotlights-black-and-brown-punks\" target=\"_blank\" rel=\"noopener\">The Multivrs is Illuminated\u003c/a> last Thursday. For that set, I was using a vocal loop pedal and pole dancing in that soundscape. I had a duet with a friend; I was dancing in this light projection that reacts when you move, which a friend of mine who’s a coder made.\u003c/p>\n\u003cp>I like to sing. I really like immersive environments, and I really love imagery. The projects now where I’m creating live soundscapes and dancing within them and working with interactive light is something that I’ve been doing for about a year now.\u003c/p>\n\u003cp>Before that, I performed in bars and nightlife and sometimes toured around solo. I had a solo show called \u003cem>An Angel’s Manifesto\u003c/em> right before the first \u003cem>Paradise\u003c/em> opened [in 2015]. That was a dance show. I had an outdoor pole performance at Frank Ogawa Plaza at night in February that was just addressing violence towards femmes in the street and street harassment.\u003c/p>\n\u003cp>And then there was a photo component, which was a series embodying the different archetypes: one was The World from tarot, another one was like a water spirit in the desert. And that was a collaboration with a friend of mine who’s a photographer.\u003c/p>\n\u003cfigure id=\"attachment_13839048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-800x571.jpg\" alt=\"India Sky Davis.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">India Sky Davis. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m struck by how you use pole in this really beautiful and sensual way. How did you get into that practice, and how did it became such a key part of your artistry?\u003c/strong>\u003c/p>\n\u003cp>I started pole a long time ago, like maybe 2007, and that was with a friend who was a stripper who had a pole at home. This is before there was this pole studio craze. Maybe you could take a pole class at a sex shop, but it was not popular like it is now. Really, we were just kicking it and playing and teaching ourselves stuff. And we would just take out the pole when we were just having fun or having a party or whatever.\u003c/p>\n\u003cp>So that’s when I first started. I danced very, very briefly right after I graduated from college at a strip club. Then when I moved to Oakland, I brought a pole with me.\u003c/p>\n\u003cp>I had just moved here, I was super broke. I was trying to figure out how I was going to make money during the day. And then I decided I wanted to teach a pole class for queer and trans people of color because that’s just who I wanted to be in class with. It became super popular. I think it was as this popularity of pole dancing was coming, and also the specificity of the space was appealing. I had a lot of fun doing it.\u003c/p>\n\u003cp>I’ve pretty much taught that class consistently for the past six years. It has helped me a lot and has kept me in the pole world.\u003c/p>\n\u003cp>\u003cstrong>In the six years that you’ve been in the Bay Area, things have definitely shifted a lot. Are you feeling some of those effects as an artist?\u003c/strong>\u003c/p>\n\u003cp>Yeah, there’s been a lot of changes over the six years that I’ve been here. I think the biggest change that I feel is just the cost of living, specifically housing. Ideally, I would have a different kind of studio space and living situation. That just isn’t possible for me here.\u003c/p>\n\u003cp>I feel it just by so many people that have been displaced out of their homes and the rise of people that are homeless, living on the street. It’s really intense, and is a huge problem.\u003c/p>\n\u003cp>\u003cstrong>What would be your ideal future for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>That’s a big question, wow. What I would like to see is for artists—black and brown and queer artists—to get more funding for their work. I would like to see affordable housing for artists, but I would also like to see affordable housing for everyone. I would like to see more equitable pay, like the disparity between how much people are getting paid is so astronomical because we live in this really intense tech industry bubble here where there’s people that are making a ridiculous amount of money and then people that just can’t afford to pay the prices that are out here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I would like to see more planning and justice around racial equity and housing and access, and just a safer place, a safer community. Where people are prioritized and the land is prioritized and health is prioritized. Yeah, that’s a big question.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Whether directing theater productions, mesmerizing audiences with her acrobatics-based performance art or teaching pole dancing to queer and trans people of color, \u003ca href=\"https://indiaskydavis.com\" target=\"_blank\" rel=\"noopener\">India Sky Davis\u003c/a> redefines what people think when they think of “the circus.”\u003c/p>\n\u003cp>Davis is the artistic director and co-founder of \u003ca href=\"https://www.facebook.com/topsyturvycircus/\" target=\"_blank\" rel=\"noopener\">Topsy Turvy Queer Circus\u003c/a>, the popular show that lights up San Francisco’s Brava Theater every year in the weeks leading up to Pride. Davis and co-founder Indi McCasey have devoted the past three years of Topsy Turvy to a trilogy called \u003cem>Paradise\u003c/em>, a three-part Afrosurrealist play about a fallen angel (played by Davis) who must navigate her way through mystical worlds to fix the order of the universe. An impressive feat of acrobatics and choreography, \u003cem>Paradise\u003c/em> offers a moving story arc about reclaiming one’s personal power.\u003c/p>\n\u003cp>Since its inception in 2012, Topsy Turvy has grown to become the foremost platform for queer circus arts in the Bay Area. Its cast is composed entirely of queer and trans people of color, and several of the cast members are also skilled sign language interpreters who sign while reciting lines and doing backflips. (No biggie.) And, of course, Topsy Turvy’s acting and acrobatics are dazzling.\u003c/p>\n\u003cp>No matter her artistic medium, Davis’ goal is to uplift her community, and the ultra-inclusive spirit of Topsy Turvy has attracted a huge, loyal and super-queer cult following—and sparked valuable conversations about access in performing arts spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/6He5W_LclZg'\n title='//www.youtube.com/embed/6He5W_LclZg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>I’ve been to Topsy Turvy Queer Circus three times, and it’s so incredibly inclusive. I love that you have sign language as an active part of the show. Has the popularity of Topsy Turvy shifted the conversation in other queer spaces, especially about access for people with disabilities?\u003c/strong>\u003c/p>\n\u003cp>I feel like in the queer community—at least my queer, black, brown community in the Bay Area—there’s discussion and effort around making spaces accessible. Because there are people who have different access needs, I see more effort around having places that are physically accessible and also scent sensitive. But I don’t see as many spaces that have American Sign Language interpretation.\u003c/p>\n\u003cp>Sign language is such a huge, ingrained part of the show because of \u003ca href=\"https://twitter.com/bkazenmaddox?lang=en\" target=\"_blank\" rel=\"noopener\">Brandon Kazen-Maddox\u003c/a>, who’s an interpreter. He’s one of the main performers in the \u003cem>Paradise\u003c/em> series, and I’ve worked with him for over four years. He’s a huge advocate for accessibility to the deaf community. He’s black and queer, and he’s the child of deaf grandparents, so he grew up using sign language. He definitely did a lot of work to make sure that the show was accessible for deaf folks. And not even just accessible, but actually taking sign language to the next level and being really creative in its use and integrating it fully into the show.\u003c/p>\n\u003cp>Also there’s another person, Kevin Abrams, who came in during the second year of \u003cem>Paradise\u003c/em>. He is deaf, so he was brought in as another interpreter and also as another character in the show. The interpreters are characters, and the characters are interpreters.\u003c/p>\n\u003cfigure id=\"attachment_13839051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-800x571.jpg\" alt=\"India Sky Davis.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">India Sky Davis. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have so many different kinds of media that are part of \u003cem>Paradise\u003c/em>: there’s dance, acting and acrobatics, and then the video elements and original music. What’s your process of bringing the whole vision together? \u003c/strong>\u003c/p>\n\u003cp>It’s always really collaborative because it’s a huge project. When I got the idea to do \u003cem>Paradise\u003c/em>, I wanted to also create a platform for brilliant artists. Even creating the story, I created the characters based off of some of the performers that had been in Topsy Turvy who are friends of mine that I’ve worked with for a long time.\u003c/p>\n\u003cp>And so I definitely talked with everyone who’s in the show. I’m like, “This is what the character is,” and then they collaborated with me to bring that character to life. The first year, while I was creating the story, Indira Allegra was writing and I was helping with some edits. We were both writing the second year. And then this year has been the first year that I basically created and wrote the story all by myself. It was a lot of work, but it was also a great experience.\u003c/p>\n\u003cp>There’s people in the cast who are choreographing. I’m not doing everything: I’m giving direction. I’ll do a lot of curation, I’ll select music or even select musicians. \u003ca href=\"https://www.kqed.org/arts/13783251/spellling-a-highlight-at-three-day-black-brown-punk-festival\" target=\"_blank\" rel=\"noopener\">Spellling\u003c/a> did a lot of composing the past two years.\u003c/p>\n\u003cp>Here in the Bay Area, there’s a lot of really amazing and talented artists. My joy—and also, I guess, my practice—is to find people I think are really talented and ask them to lend their talents towards bringing this vision to life.\u003c/p>\n\u003cp>\u003cstrong>That’s a beautiful thing. So what compels you about circus arts as a storytelling medium?\u003c/strong>\u003c/p>\n\u003cp>I think what I like about acrobatic art and aerial dancing and pole dancing is that it’s larger than life. For me, having a super wild imagination—and, I think, wanting to communicate things that are maybe ethereal or hyper-imaginative or fantasy or very surreal—these movement practices where you can transform into anything is really appealing and interesting.\u003c/p>\n\u003cp>I think that I personally have a lot of challenge around the history of American circus. But for me, it’s a tool that I use to communicate these ideas and to bring fantasy and imagination to life.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Ftopsyturvycircus%2Fvideos%2F1527865423892209%2F&show_text=0&width=560\" width=\"560\" height=\"315\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>You’ve worked in other mediums. Before Topsy Turvy, you were known as a dancer with your group Body Waves, and you’ve done photography and solo performance art pieces. Could you tell me about a couple of those?\u003c/strong>\u003c/p>\n\u003cp>Yeah. When I was in undergrad at Antioch College in Ohio, I did theater and film and dance. I did a lot of video work, so that’s one of the reasons why every \u003cem>Paradise\u003c/em> has had video in it and it’s always a part of the story.\u003c/p>\n\u003cp>And then in terms of my solo work, I’m definitely pretty multidisciplinary. I just actually played [the underground music festival] \u003ca href=\"https://www.kqed.org/arts/13838574/the-multivers-is-illuminated-festival-spotlights-black-and-brown-punks\" target=\"_blank\" rel=\"noopener\">The Multivrs is Illuminated\u003c/a> last Thursday. For that set, I was using a vocal loop pedal and pole dancing in that soundscape. I had a duet with a friend; I was dancing in this light projection that reacts when you move, which a friend of mine who’s a coder made.\u003c/p>\n\u003cp>I like to sing. I really like immersive environments, and I really love imagery. The projects now where I’m creating live soundscapes and dancing within them and working with interactive light is something that I’ve been doing for about a year now.\u003c/p>\n\u003cp>Before that, I performed in bars and nightlife and sometimes toured around solo. I had a solo show called \u003cem>An Angel’s Manifesto\u003c/em> right before the first \u003cem>Paradise\u003c/em> opened [in 2015]. That was a dance show. I had an outdoor pole performance at Frank Ogawa Plaza at night in February that was just addressing violence towards femmes in the street and street harassment.\u003c/p>\n\u003cp>And then there was a photo component, which was a series embodying the different archetypes: one was The World from tarot, another one was like a water spirit in the desert. And that was a collaboration with a friend of mine who’s a photographer.\u003c/p>\n\u003cfigure id=\"attachment_13839048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-800x571.jpg\" alt=\"India Sky Davis.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">India Sky Davis. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m struck by how you use pole in this really beautiful and sensual way. How did you get into that practice, and how did it became such a key part of your artistry?\u003c/strong>\u003c/p>\n\u003cp>I started pole a long time ago, like maybe 2007, and that was with a friend who was a stripper who had a pole at home. This is before there was this pole studio craze. Maybe you could take a pole class at a sex shop, but it was not popular like it is now. Really, we were just kicking it and playing and teaching ourselves stuff. And we would just take out the pole when we were just having fun or having a party or whatever.\u003c/p>\n\u003cp>So that’s when I first started. I danced very, very briefly right after I graduated from college at a strip club. Then when I moved to Oakland, I brought a pole with me.\u003c/p>\n\u003cp>I had just moved here, I was super broke. I was trying to figure out how I was going to make money during the day. And then I decided I wanted to teach a pole class for queer and trans people of color because that’s just who I wanted to be in class with. It became super popular. I think it was as this popularity of pole dancing was coming, and also the specificity of the space was appealing. I had a lot of fun doing it.\u003c/p>\n\u003cp>I’ve pretty much taught that class consistently for the past six years. It has helped me a lot and has kept me in the pole world.\u003c/p>\n\u003cp>\u003cstrong>In the six years that you’ve been in the Bay Area, things have definitely shifted a lot. Are you feeling some of those effects as an artist?\u003c/strong>\u003c/p>\n\u003cp>Yeah, there’s been a lot of changes over the six years that I’ve been here. I think the biggest change that I feel is just the cost of living, specifically housing. Ideally, I would have a different kind of studio space and living situation. That just isn’t possible for me here.\u003c/p>\n\u003cp>I feel it just by so many people that have been displaced out of their homes and the rise of people that are homeless, living on the street. It’s really intense, and is a huge problem.\u003c/p>\n\u003cp>\u003cstrong>What would be your ideal future for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>That’s a big question, wow. What I would like to see is for artists—black and brown and queer artists—to get more funding for their work. I would like to see affordable housing for artists, but I would also like to see affordable housing for everyone. I would like to see more equitable pay, like the disparity between how much people are getting paid is so astronomical because we live in this really intense tech industry bubble here where there’s people that are making a ridiculous amount of money and then people that just can’t afford to pay the prices that are out here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I would like to see more planning and justice around racial equity and housing and access, and just a safer place, a safer community. Where people are prioritized and the land is prioritized and health is prioritized. Yeah, that’s a big question.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sarah Kane’s '4.48 Psychosis' Finds Empathetic Home at Anton’s Well",
"headTitle": "Sarah Kane’s ‘4.48 Psychosis’ Finds Empathetic Home at Anton’s Well | KQED",
"content": "\u003cp>Although her name is instantly recognized by even casual theater-goers, Sarah Kane’s works have long struggled to find a foothold in the Bay Area. With a few exceptions (such as Shotgun Players’ \u003ca href=\"https://www.kqed.org/arts/13810092/shotgun-players-blasted-is-a-complex-portrayal-of-despair\" rel=\"noopener\" target=\"_blank\">2017 production of \u003cem>Blasted\u003c/em>\u003c/a>), Bay Area companies shy away from her passionately bleak worlds and imperfect, struggling characters.\u003c/p>\n\u003cp>This struggle is not confined solely to her stages. Like other creators of visceral worlds tinged with violence, surrealism, and self-loathing—the Kurt Cobains and the Sylvia Plaths—what Kane will probably always be known for, above all, is her untimely death by suicide at the age of 28.\u003c/p>\n\u003cp>With their production of Kane’s final play \u003cem>4.48 Psychosis\u003c/em> at the small studio stage of Oakland’s Temescal Arts Center, Anton’s Well Theater Company further cements their commitment to bringing the unusual and the overlooked to the Bay Area. (Other recent productions have included \u003cem>The Human Ear\u003c/em>, by Alexandra Wood, and \u003cem>Tender Napalm\u003c/em>, by Philip Ridley.)\u003c/p>\n\u003cp>What makes \u003cem>4.48\u003c/em> unique, even for Kane, is the fact that it consists solely of text, split arbitrarily into 24 sections, no character names, no stage directions, no indication at all of how it should be presented, or even how many actors should be in it. In fact, it reads like a poem, the kind that would not be out of place in an anthology dedicated to new, experimental works. There are even whole sections consisting solely of numbers displayed in a sequence whose meaning is known only to their author.\u003c/p>\n\u003cp>In short, it’s a challenge.\u003c/p>\n\u003cfigure id=\"attachment_13837554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837554\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-960x617.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jody Christian, Adrian Deane, and Anastasia Barron in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Robert Estes rises to this challenge with the capable assistance of choreographer Bridgette Loriaux, and a strong cast of three women: Anastasia Barron, Jody Christian, and Adrian Deane. Beginning on three separate corners of the stage, the three advance to the center of the room to dance to the pre-recorded strains of a cello, filling the room with urgent melancholy. Clad in matching trousers of loden green, and button-down shirts of light blue, deep teal, and maroon (costume design by Katja Rivera), they come together only to pull apart, not just once but throughout the play, like pieces of a fragmented mind trying to put itself back together again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the words spoken by Anastasia Barron, that fragmented mind “shifts as ten thousand cockroaches when a shaft of light enters as all thoughts unite in an instant of accord.” Welcome to the world of Sarah Kane, where 4:48 am is her hour of reckoning, every morning she wakes.\u003c/p>\n\u003cp>It takes time for the three “fragments” to develop into their own unique characters—in part because of the often arbitrary nature of the text, and in part because of the often seemingly arbitrary nature of the action onstage. But as the three actors contort their bodies in symbiosis with the contortions of a mind in turmoil, three major facets of their shared consciousness become apparent. Barron is given the bulk of the poetry—the soul-searching and the self-loathing—with lines that sometimes border on the maudlin.\u003c/p>\n\u003cp>“I’ve never in my life had a problem giving another person what they want,” she says at one point. “But no one’s ever been able to do that for me.” Frequently she lies on her back or on her side, sinking into the floor, fetal with anguish, while Christian and Deane spar more frequently with each other: Deane as righteous self-destruction and Christian as cool rationality and medical diagnoses.\u003c/p>\n\u003cp>“There’s not a drug on earth can make life meaningful.”\u003c/p>\n\u003cp>“Nothing will interfere with your work like suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13837552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-800x487.jpg\" alt=\"Jody Christian, Adrian Deane, and Anastasia Barron star in Anton's Well production of '4.48 Psychosis.'\" width=\"800\" height=\"487\" class=\"size-medium wp-image-13837552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1200x730.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1920x1168.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-960x584.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-520x316.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jody Christian, Adrian Deane, and Anastasia Barron star in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the language is frequently mesmerizing, and the actors remain fierce and focused throughout the piece, the production does have its weak points. The choice to rely on frequent blackouts, strobe lights and ill-suited gobos (provided by Nathan Bogner) in order to differentiate the many sections turn what could be a sustained burst of impassioned turmoil into an enervating series of vignettes, connected to each other only by the constant presence of the actors and the shrewd bitterness of Kane’s words.\u003c/p>\n\u003cp>Staged in the round, the frequently visible faces of fellow audience members, whether rapt or dozing, sometimes distract from the drama onstage. And without a textually provided throughline, the production leaves us equally bereft of a satisfactory \u003cem>denouement\u003c/em>. The play simply ends when it ends, with an understated plea to open the curtains, after which the actors take their bows and leave.\u003c/p>\n\u003cfigure id=\"attachment_13837555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837555\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-800x653.jpg\" alt=\"\" width=\"800\" height=\"653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-520x424.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An empathetic moment with Jody Christian, Adrian Deane, and Anastasia Barron in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this, the rare opportunity to see this little-staged work is worth the effort. Few plays go so boldly into the misunderstood territory of the troubled mind as \u003cem>4.48 Psychosis\u003c/em>, and Estes and his fearless cast are to be commended. Through their unconventional staging they imbue this difficult piece with moments of real beauty and empathy, drawing the audience to bear witness to a human condition that is so frequently ignored, misinterpreted, or rejected. This production may not be a perfect distillation of the above, but it shouldn’t be overlooked.\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>‘4.48 Psychosis’ runs through Aug. 5 at Temescal Arts Center in Oakland. Details \u003ca href=\"https://antonswell.org/2018/07/14/uncompromising-4-48-psychosis-opens-on-friday-july-14/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A rare production in Oakland of Sarah Kane’s visceral exploration of clinical depression is well worth its challenges.",
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"title": "Sarah Kane’s '4.48 Psychosis' Finds Empathetic Home at Anton’s Well | KQED",
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"headline": "Sarah Kane’s '4.48 Psychosis' Finds Empathetic Home at Anton’s Well",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although her name is instantly recognized by even casual theater-goers, Sarah Kane’s works have long struggled to find a foothold in the Bay Area. With a few exceptions (such as Shotgun Players’ \u003ca href=\"https://www.kqed.org/arts/13810092/shotgun-players-blasted-is-a-complex-portrayal-of-despair\" rel=\"noopener\" target=\"_blank\">2017 production of \u003cem>Blasted\u003c/em>\u003c/a>), Bay Area companies shy away from her passionately bleak worlds and imperfect, struggling characters.\u003c/p>\n\u003cp>This struggle is not confined solely to her stages. Like other creators of visceral worlds tinged with violence, surrealism, and self-loathing—the Kurt Cobains and the Sylvia Plaths—what Kane will probably always be known for, above all, is her untimely death by suicide at the age of 28.\u003c/p>\n\u003cp>With their production of Kane’s final play \u003cem>4.48 Psychosis\u003c/em> at the small studio stage of Oakland’s Temescal Arts Center, Anton’s Well Theater Company further cements their commitment to bringing the unusual and the overlooked to the Bay Area. (Other recent productions have included \u003cem>The Human Ear\u003c/em>, by Alexandra Wood, and \u003cem>Tender Napalm\u003c/em>, by Philip Ridley.)\u003c/p>\n\u003cp>What makes \u003cem>4.48\u003c/em> unique, even for Kane, is the fact that it consists solely of text, split arbitrarily into 24 sections, no character names, no stage directions, no indication at all of how it should be presented, or even how many actors should be in it. In fact, it reads like a poem, the kind that would not be out of place in an anthology dedicated to new, experimental works. There are even whole sections consisting solely of numbers displayed in a sequence whose meaning is known only to their author.\u003c/p>\n\u003cp>In short, it’s a challenge.\u003c/p>\n\u003cfigure id=\"attachment_13837554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837554\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-800x514.jpg\" alt=\"\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-960x617.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_embrace_credit_Jane-Shamaeva.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jody Christian, Adrian Deane, and Anastasia Barron in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Robert Estes rises to this challenge with the capable assistance of choreographer Bridgette Loriaux, and a strong cast of three women: Anastasia Barron, Jody Christian, and Adrian Deane. Beginning on three separate corners of the stage, the three advance to the center of the room to dance to the pre-recorded strains of a cello, filling the room with urgent melancholy. Clad in matching trousers of loden green, and button-down shirts of light blue, deep teal, and maroon (costume design by Katja Rivera), they come together only to pull apart, not just once but throughout the play, like pieces of a fragmented mind trying to put itself back together again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the words spoken by Anastasia Barron, that fragmented mind “shifts as ten thousand cockroaches when a shaft of light enters as all thoughts unite in an instant of accord.” Welcome to the world of Sarah Kane, where 4:48 am is her hour of reckoning, every morning she wakes.\u003c/p>\n\u003cp>It takes time for the three “fragments” to develop into their own unique characters—in part because of the often arbitrary nature of the text, and in part because of the often seemingly arbitrary nature of the action onstage. But as the three actors contort their bodies in symbiosis with the contortions of a mind in turmoil, three major facets of their shared consciousness become apparent. Barron is given the bulk of the poetry—the soul-searching and the self-loathing—with lines that sometimes border on the maudlin.\u003c/p>\n\u003cp>“I’ve never in my life had a problem giving another person what they want,” she says at one point. “But no one’s ever been able to do that for me.” Frequently she lies on her back or on her side, sinking into the floor, fetal with anguish, while Christian and Deane spar more frequently with each other: Deane as righteous self-destruction and Christian as cool rationality and medical diagnoses.\u003c/p>\n\u003cp>“There’s not a drug on earth can make life meaningful.”\u003c/p>\n\u003cp>“Nothing will interfere with your work like suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13837552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-800x487.jpg\" alt=\"Jody Christian, Adrian Deane, and Anastasia Barron star in Anton's Well production of '4.48 Psychosis.'\" width=\"800\" height=\"487\" class=\"size-medium wp-image-13837552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1200x730.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1920x1168.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-960x584.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva-520x316.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_actors_credit_Jane-Shamaeva.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jody Christian, Adrian Deane, and Anastasia Barron star in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the language is frequently mesmerizing, and the actors remain fierce and focused throughout the piece, the production does have its weak points. The choice to rely on frequent blackouts, strobe lights and ill-suited gobos (provided by Nathan Bogner) in order to differentiate the many sections turn what could be a sustained burst of impassioned turmoil into an enervating series of vignettes, connected to each other only by the constant presence of the actors and the shrewd bitterness of Kane’s words.\u003c/p>\n\u003cp>Staged in the round, the frequently visible faces of fellow audience members, whether rapt or dozing, sometimes distract from the drama onstage. And without a textually provided throughline, the production leaves us equally bereft of a satisfactory \u003cem>denouement\u003c/em>. The play simply ends when it ends, with an understated plea to open the curtains, after which the actors take their bows and leave.\u003c/p>\n\u003cfigure id=\"attachment_13837555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837555\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-800x653.jpg\" alt=\"\" width=\"800\" height=\"653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/4.48Psychosis_touch_credit_Jane-Shamaeva-520x424.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An empathetic moment with Jody Christian, Adrian Deane, and Anastasia Barron in Anton’s Well production of ‘4.48 Psychosis.’ \u003ccite>(Jane Shamaeva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this, the rare opportunity to see this little-staged work is worth the effort. Few plays go so boldly into the misunderstood territory of the troubled mind as \u003cem>4.48 Psychosis\u003c/em>, and Estes and his fearless cast are to be commended. Through their unconventional staging they imbue this difficult piece with moments of real beauty and empathy, drawing the audience to bear witness to a human condition that is so frequently ignored, misinterpreted, or rejected. This production may not be a perfect distillation of the above, but it shouldn’t be overlooked.\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>‘4.48 Psychosis’ runs through Aug. 5 at Temescal Arts Center in Oakland. Details \u003ca href=\"https://antonswell.org/2018/07/14/uncompromising-4-48-psychosis-opens-on-friday-july-14/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hold-these-truths-remembers-one-mans-refusal-to-cede-his-civil-rights-during-wwii",
"title": "'Hold These Truths' Remembers One Man's Refusal to Cede His Civil Rights During WWII",
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"headTitle": "‘Hold These Truths’ Remembers One Man’s Refusal to Cede His Civil Rights During WWII | KQED",
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"content": "\u003cp>The Trump Administration’s policies on travel and immigration have reignited interest in an old precedent from World War II: the mass incarceration of Japanese-Americans by the Roosevelt Administration with Executive Order 9066.\u003c/p>\n\u003cp>Opinion pieces on the right, left and in-between argue over the similarities and differences, but the arguments at the core of the debate are not about the specifics of how people are incarcerated or what legal principle is up for review. We are at a point in time when we are asking as a nation whether it’s OK to target specific ethnic groups to address large and complicated threats to our national welfare. That’s what brings to mind World War II.\u003c/p>\n\u003cp>“Today is the first time, so far as I am aware, that we have sustained a substantial restriction of the personal liberty of citizens of the United States based upon the accident of race or ancestry.” – \u003ci>Hirabayashi v. United States\u003c/i>, 320 U.S. 81 (1943)\u003c/p>\n\u003cp>That political context makes \u003cem>Hold These Truths\u003c/em>, a play written more than a decade ago about that case and the man behind the name Hirabayashi, strikingly resonant as it makes its Bay Area premiere this week with \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Gordon Hirabayashi was a college student in 1942 when he decided to turn himself in for refusing to abide by laws established to isolate Japanese and Japanese-Americans in the Western United States, on no other basis than race.\u003c/p>\n\u003cblockquote>\u003cp>Over sixty percent are American citizens, yet they are denied, without due process of law, the civil liberties which are theirs.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>If I were to register and cooperate under these circumstances, I would be giving helpless consent to the denial of practically all of the things which give me incentive to live.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>I consider it my duty to maintain the democratic standards for which this nation lives. Therefore–I must refuse this order for evacuation.\u003c/p>\n\u003cp>Signed, Gordon K. Hirabayashi.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13837156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg\" alt=\"Joel de la Fuente plays more than 35 characters in the one-man play "Hold These Truths." Director Lisa Rothe says, "It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who's got a tremendous range and flexibility. "\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel de la Fuente plays more than 35 characters in the one-man play “Hold These Truths.” Director Lisa Rothe says, “It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who’s got a tremendous range and flexibility. “ \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hold These Truths\u003c/em> was written by Watsonville-born, Los Angeles-based actress Jeanne Sakata. As a Japanese-American, she thought she knew the history of the internment camps.\u003cspan class=\"Apple-converted-space\"> So she was surprised to learn about Hirabayashi by watching a 1992 documentary, \u003ca href=\"https://caamedia.org/films/personal-matter-gordon-hirabayashi-vs-the-united-states/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Personal Matter\u003c/em>\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It just flabbergasted me that I didn’t know. At the same time, the story itself delighted me,” Sakata says.\u003c/p>\n\u003cp>Three Japanese-Americans took their fight against internment all the way to the U.S. Supreme Court in the 1940s. But most people, if they know about the court cases at all, know about \u003cem>Korematsu v. United States\u003c/em>. (The podcast \u003cem>More Perfect\u003c/em> provides an excellent history of that story \u003ca href=\"https://www.wnycstudios.org/story/radiolab-presents-more-perfect-american-pendulum-i/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>Sakata considered writing a play about all three: Korematsu, Hirabayashi and \u003ca href=\"https://www.minoruyasuitribute.org\" target=\"_blank\" rel=\"noopener\">Minoru Yasuri\u003c/a>. But the longtime actress had never written a play before, and that challenge seemed too daunting. “It was just a little too much to handle. So I thought I would just focus on telling this one story that I loved so much, and that I never saw in my history books,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13837158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837158\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg\" alt=\"After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist.\" width=\"800\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-768x896.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1020x1190.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1028x1200.jpg 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1180x1377.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-960x1120.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-240x280.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-375x438.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-520x607.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist. \u003ccite>(Photo: Courtesy of the Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of what intrigued Sakata was Hirabayashi’s Quaker faith. “I had grown up in a Japanese-American Presbyterian family, and that’s something I never heard of: a second generation Japanese-American Quaker.” Hirabayashi converted in college, but as Sakata learned, it wasn’t a big stretch, given that his parents were members of a Japanese Christian sect called \u003ci>Mukyōkaishugi\u003c/i>, known for its socially progressive values similar to those of the Quakers.\u003c/p>\n\u003cp>Perhaps it took a man given to iconoclasm to pick a fight with the federal government. He had already joined the Quaker-run \u003ca href=\"https://www.afsc.org\" target=\"_blank\" rel=\"noopener\">American Friends Service Committee\u003c/a> by that point, as the group was helping Japanese-Americans thrown into disarray by Executive Order 9066. Later, the ACLU would help him in court.\u003c/p>\n\u003cp>Like Korematsu and Yasui, Hirabayashi lost before the U.S. Supreme Court. He was legally vindicated in the 1980s, though. Hirabayashi’s convictions on both charges were overturned by the U.S. District Court in Seattle and the federal appeals curt, because evidence arose that the Solicitor General’s office cited examples of Japanese-American sabotage in its Supreme Court arguments, despite having determined the rumored incidents were indeed rumors only.\u003c/p>\n\u003cp>Hirabayashi died in 2012 and received a posthumous Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003ch2>A Showcase for An Asian-American Actor\u003c/h2>\n\u003cp>\u003cem>Hold These Truths\u003c/em> provides plenty of opportunity to stretch for Joel de la Fuente, perhaps best known for his role as Inspector Kido in Amazon’s \u003ca href=\"https://www.amazon.com/Man-High-Castle-Season/dp/B00RSGIVVO\" target=\"_blank\" rel=\"noopener\">\u003cem>The Man in the High Castle\u003c/em>\u003c/a>. He gets to play more than 35 characters, switching between them with impressively deft rapidity, sometimes mid-sentence.\u003c/p>\n\u003cp>Sakata says, “I really wanted one Asian-American actor to have a chance to show his virtuosity. You see him do one role on \u003cem>High Castle,\u003c/em> but in this play, you get to see him play an amazing array.” In a way, the role is a vindication for Sakata, too, she says, having suffered as an actress from the paucity of complex roles written for Asian-Americans during her own career.\u003c/p>\n\u003cp>Watch de la Fuente perform a conversation between Gordon Hirabayashi and his mother in \u003cem>Hold These Truths\u003c/em>.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=H-Gi2BMEYqA]\u003c/p>\n\u003cp>\u003cem>Hold These Truths\u003c/em> made its world premiere in 2007 in Los Angeles with \u003ca href=\"http://www.eastwestplayers.org\" target=\"_blank\" rel=\"noopener\">East West Players\u003c/a>, the nation’s oldest Asian-American theater company.\u003c/p>\n\u003cp>Sakata says she originally wrote the play to preserve and celebrate the history, even though now it sounds like it was ripped from today’s news headlines. “We are in a time right now politically where we need some beam of light, some hope, and I hope that the story will provide that, will inspire us to stand for what’s right even when times are going against us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.lisarothe.com\" target=\"_blank\" rel=\"noopener\">Lisa Rothe\u003c/a>, who’s been directing this play since 2009, agrees that audience reaction has changed markedly over the years the play has traveled the country. Rothe says, “Before the election [of President Donald Trump], the conversation was on a shelf. Like, ‘Aren’t we happy that we’ve moved beyond this?’ Now, to actually see it on the front pages of the newspaper is pretty extraordinary, and depressing.\u003c/p>\n\u003cp>Even if you don’t agree with the politics of the play, it is a rip-roaring ride through a dramatic chapter in American history, and a reminder that the civil liberties promised in this nation’s founding documents are still the subject of continuous debate and conflict.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hold These Truths\u003c/strong> runs through August 5th at the Lucie Stern Theatre in Palo Alto. More info \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'Hold These Truths' Remembers One Man's Refusal to Cede His Civil Rights During WWII | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Trump Administration’s policies on travel and immigration have reignited interest in an old precedent from World War II: the mass incarceration of Japanese-Americans by the Roosevelt Administration with Executive Order 9066.\u003c/p>\n\u003cp>Opinion pieces on the right, left and in-between argue over the similarities and differences, but the arguments at the core of the debate are not about the specifics of how people are incarcerated or what legal principle is up for review. We are at a point in time when we are asking as a nation whether it’s OK to target specific ethnic groups to address large and complicated threats to our national welfare. That’s what brings to mind World War II.\u003c/p>\n\u003cp>“Today is the first time, so far as I am aware, that we have sustained a substantial restriction of the personal liberty of citizens of the United States based upon the accident of race or ancestry.” – \u003ci>Hirabayashi v. United States\u003c/i>, 320 U.S. 81 (1943)\u003c/p>\n\u003cp>That political context makes \u003cem>Hold These Truths\u003c/em>, a play written more than a decade ago about that case and the man behind the name Hirabayashi, strikingly resonant as it makes its Bay Area premiere this week with \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Gordon Hirabayashi was a college student in 1942 when he decided to turn himself in for refusing to abide by laws established to isolate Japanese and Japanese-Americans in the Western United States, on no other basis than race.\u003c/p>\n\u003cblockquote>\u003cp>Over sixty percent are American citizens, yet they are denied, without due process of law, the civil liberties which are theirs.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>If I were to register and cooperate under these circumstances, I would be giving helpless consent to the denial of practically all of the things which give me incentive to live.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>I consider it my duty to maintain the democratic standards for which this nation lives. Therefore–I must refuse this order for evacuation.\u003c/p>\n\u003cp>Signed, Gordon K. Hirabayashi.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13837156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg\" alt=\"Joel de la Fuente plays more than 35 characters in the one-man play "Hold These Truths." Director Lisa Rothe says, "It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who's got a tremendous range and flexibility. "\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel de la Fuente plays more than 35 characters in the one-man play “Hold These Truths.” Director Lisa Rothe says, “It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who’s got a tremendous range and flexibility. “ \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hold These Truths\u003c/em> was written by Watsonville-born, Los Angeles-based actress Jeanne Sakata. As a Japanese-American, she thought she knew the history of the internment camps.\u003cspan class=\"Apple-converted-space\"> So she was surprised to learn about Hirabayashi by watching a 1992 documentary, \u003ca href=\"https://caamedia.org/films/personal-matter-gordon-hirabayashi-vs-the-united-states/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Personal Matter\u003c/em>\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It just flabbergasted me that I didn’t know. At the same time, the story itself delighted me,” Sakata says.\u003c/p>\n\u003cp>Three Japanese-Americans took their fight against internment all the way to the U.S. Supreme Court in the 1940s. But most people, if they know about the court cases at all, know about \u003cem>Korematsu v. United States\u003c/em>. (The podcast \u003cem>More Perfect\u003c/em> provides an excellent history of that story \u003ca href=\"https://www.wnycstudios.org/story/radiolab-presents-more-perfect-american-pendulum-i/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>Sakata considered writing a play about all three: Korematsu, Hirabayashi and \u003ca href=\"https://www.minoruyasuitribute.org\" target=\"_blank\" rel=\"noopener\">Minoru Yasuri\u003c/a>. But the longtime actress had never written a play before, and that challenge seemed too daunting. “It was just a little too much to handle. So I thought I would just focus on telling this one story that I loved so much, and that I never saw in my history books,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13837158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837158\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg\" alt=\"After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist.\" width=\"800\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-768x896.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1020x1190.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1028x1200.jpg 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1180x1377.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-960x1120.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-240x280.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-375x438.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-520x607.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist. \u003ccite>(Photo: Courtesy of the Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of what intrigued Sakata was Hirabayashi’s Quaker faith. “I had grown up in a Japanese-American Presbyterian family, and that’s something I never heard of: a second generation Japanese-American Quaker.” Hirabayashi converted in college, but as Sakata learned, it wasn’t a big stretch, given that his parents were members of a Japanese Christian sect called \u003ci>Mukyōkaishugi\u003c/i>, known for its socially progressive values similar to those of the Quakers.\u003c/p>\n\u003cp>Perhaps it took a man given to iconoclasm to pick a fight with the federal government. He had already joined the Quaker-run \u003ca href=\"https://www.afsc.org\" target=\"_blank\" rel=\"noopener\">American Friends Service Committee\u003c/a> by that point, as the group was helping Japanese-Americans thrown into disarray by Executive Order 9066. Later, the ACLU would help him in court.\u003c/p>\n\u003cp>Like Korematsu and Yasui, Hirabayashi lost before the U.S. Supreme Court. He was legally vindicated in the 1980s, though. Hirabayashi’s convictions on both charges were overturned by the U.S. District Court in Seattle and the federal appeals curt, because evidence arose that the Solicitor General’s office cited examples of Japanese-American sabotage in its Supreme Court arguments, despite having determined the rumored incidents were indeed rumors only.\u003c/p>\n\u003cp>Hirabayashi died in 2012 and received a posthumous Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003ch2>A Showcase for An Asian-American Actor\u003c/h2>\n\u003cp>\u003cem>Hold These Truths\u003c/em> provides plenty of opportunity to stretch for Joel de la Fuente, perhaps best known for his role as Inspector Kido in Amazon’s \u003ca href=\"https://www.amazon.com/Man-High-Castle-Season/dp/B00RSGIVVO\" target=\"_blank\" rel=\"noopener\">\u003cem>The Man in the High Castle\u003c/em>\u003c/a>. He gets to play more than 35 characters, switching between them with impressively deft rapidity, sometimes mid-sentence.\u003c/p>\n\u003cp>Sakata says, “I really wanted one Asian-American actor to have a chance to show his virtuosity. You see him do one role on \u003cem>High Castle,\u003c/em> but in this play, you get to see him play an amazing array.” In a way, the role is a vindication for Sakata, too, she says, having suffered as an actress from the paucity of complex roles written for Asian-Americans during her own career.\u003c/p>\n\u003cp>Watch de la Fuente perform a conversation between Gordon Hirabayashi and his mother in \u003cem>Hold These Truths\u003c/em>.\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/H-Gi2BMEYqA'\n title='//www.youtube.com/embed/H-Gi2BMEYqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Hold These Truths\u003c/em> made its world premiere in 2007 in Los Angeles with \u003ca href=\"http://www.eastwestplayers.org\" target=\"_blank\" rel=\"noopener\">East West Players\u003c/a>, the nation’s oldest Asian-American theater company.\u003c/p>\n\u003cp>Sakata says she originally wrote the play to preserve and celebrate the history, even though now it sounds like it was ripped from today’s news headlines. “We are in a time right now politically where we need some beam of light, some hope, and I hope that the story will provide that, will inspire us to stand for what’s right even when times are going against us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.lisarothe.com\" target=\"_blank\" rel=\"noopener\">Lisa Rothe\u003c/a>, who’s been directing this play since 2009, agrees that audience reaction has changed markedly over the years the play has traveled the country. Rothe says, “Before the election [of President Donald Trump], the conversation was on a shelf. Like, ‘Aren’t we happy that we’ve moved beyond this?’ Now, to actually see it on the front pages of the newspaper is pretty extraordinary, and depressing.\u003c/p>\n\u003cp>Even if you don’t agree with the politics of the play, it is a rip-roaring ride through a dramatic chapter in American history, and a reminder that the civil liberties promised in this nation’s founding documents are still the subject of continuous debate and conflict.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hold These Truths\u003c/strong> runs through August 5th at the Lucie Stern Theatre in Palo Alto. More info \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even if you don’t watch soccer, you’ve probably heard it referred to at some point as “the beautiful game.” While the exact origin of the phrase is in some dispute (like “beatnik,” there are a few claimants), it’s become one of the default phrases employed to describe the sport as a whole. And while beauty is very much in the eye of the beholder, one need only watch a replay of the \u003ca href=\"https://www.youtube.com/watch?v=XLa9wP-BVzQ\" target=\"_blank\" rel=\"noopener noreferrer\">first goal scored\u003c/a> in the England-Croatia World Cup semifinal match by English defender Kieran Trippier—a swooping arc flying first over the heads of Croatia’s defensive “wall,” then soaring above goalkeeper Danijel Subašić to smash into the back of the net—to get a sense of the game’s \u003cem>potential\u003c/em> for beautiful moments.\u003c/p>\n\u003cp>In fact, there’s so much potential for beauty in soccer, especially at the World Cup level, that it can move an arts journalist such as myself to spend the better part of a month lurking in dark bars at 7am. As the games have progressed from knockout rounds, to the final sixteen, the final eight, the quarterfinals, and the best of the best (or sometimes just the luckiest) inching their way to this weekend’s finals, I find I can hardly resist the very theatre-like qualities of the World Cup and, particularly in large outdoor public screenings, its fans.\u003c/p>\n\u003cfigure id=\"attachment_13836997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8531-800x533.jpg\" alt=\"Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soccer has so much happening that it could be said to encompass a wide variety of art forms within its sweaty bosom. The almost balletic precision of Spain’s “tiki-taka” passing game as contrasted with the spontaneous improv of a lucky header such as that of Belgium’s Jan Vertonghen against Japan, a literal long shot turned unexpected goal. The physical beauty of athletic bodies in motion, without giant helmets or baggy trousers to mar the view. The high drama of high stakes leading to shoving matches and shouted epithets on the pitch (to say nothing of the stands), some inspired by fresh insults, some by deep-seated rivalries stretching back generations. The low humor of a ball planted squarely in England defender Kyle Walker’s \u003cem>bollocks\u003c/em> and the unabashed emotion on the faces of the Croatian team after cementing their winning goal in the 109th minute of play, particularly \u003ca href=\"https://petapixel.com/2018/07/12/photographer-gets-dog-piled-at-world-cup-and-keeps-on-shooting/\">as captured by Salvadoran photojournalist Yuri Cortez\u003c/a>, who was buried in the middle of their celebratory dogpile.\u003c/p>\n\u003cfigure id=\"attachment_13836996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836996\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8528-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sue Bierman Park, a grassy knoll sandwiched between Drumm and the Embarcadero, a crowd gathered Wednesday to watch an outdoor screening of the World Cup semi-final match between England and Croatia, a courtesy provided by San Francisco Parks and Recreation (the final will be screened at the Civic Center on Sunday, July 15). Unlike many of the bars that show World Cup games in San Francisco, these outdoor screenings have a way of drawing supporters of both teams, and yet none (that I’ve been to) have had any serious altercations. We are civil “football” fans in SF, it seems, but that doesn’t stop the pageantry, people wrapped in flags, facepaint, team colors, or the palpable tension and anticipation that rises with each unpredictable twist in plot. Folks from all walks of life come to represent and be represented. For them, as well as for the players looming on the giant screen above us, a World Cup soccer game can be emotionally challenging, physically demanding, and potentially transcendent.\u003c/p>\n\u003cfigure id=\"attachment_13837003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8558-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although at first glance, and second count, supporters of England appeared to outnumber those of Croatia at the screening, as the game progressed and Croatia’s chances improved, those few appeared to swell in number, or at least in appreciative vocalization. And while it might be inappropriate to make such sounds at a particularly stirring Symphony performance, it would certainly not be out of place after a beautifully improvised jazz solo or a fan favorite rock anthem played third on the set list at the Independent. The groans and “come ooooooon”’s of fan frustration might just as easily (though not as publicly) come out of a stage-builder’s mouth at a wayward flat or a misplaced drill bit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And what other high-stakes sporting event in San Francisco could bring groups of friends (such as SF Hibernian teammates Carly Andler and Bethany Barker, supporting Croatia and England respectively), and even families (such as that of the Takhars, England supporters, save for grandmother Dori Jafarieh, holding out for Croatia), out in force to sit together while supporting different teams, yet still maintain conviviality and an appreciation not just for results, but for the experience of the game as performance?\u003c/p>\n\u003cfigure id=\"attachment_13836986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8483-800x533.jpg\" alt=\"Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>England-born Napa resident Nicky Robert might have come out ostensibly to support Gareth Southgate’s scrappy underdogs, but really, she was just glad for a day in the sun watching them go as far as they could in enthusiastic company. As for Croatian-born Ivana Zubonja however, nothing but a Croatian win would do. Her pride for her team radiated from her checkerboard jersey, and her cheers could be heard from halfway across the park when they equalized. And do any of them find beauty in the “beautiful game”? Not everyone seemed too sure about that, but England supporter Paul Griffith, “old enough to remember when the phrase applied to the Brazilian attacking game,” certainly did.\u003c/p>\n\u003cp>“I know it’s really physics, and all that. But watching the ball curve (into the goal) seems magical.”\u003c/p>\n\u003cfigure id=\"attachment_13836992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8504-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what a performance it was. With England up a point the entire first half, it felt like Croatia was having to chip away at their strength with Sisyphean struggle, one step forward, two steps back. But their practiced slog yielded the intended result in the 68th minute, as Croatian Ivan Perišić landed a controversial goal that fired up not just the patient Croatian supporters at Sue Bierman park, but the National team, who seemed in the moment to shake off any lingering dejection to dominate the rest of the game. England’s goalkeeper Jordan Pickford often seeming like the only player really standing between Croatia and the ball, as England’s defense appeared uncertain how to stop Croatia from shooting at a goal—save for that aforementioned Kyle Walker bollock-block, a sacrifice soon forgotten as Mario Mandžukić drove in a second goal for Croatia three minutes later at the 109th minute of play. A moment that seems to burden the English team with an extra 10 years’ worth of haggard lines (though the younger team by far), just as it washed the fraught exhaustion from Croatia’s faces as they mobbed each other, and Yuri Gomez, in their beatific joy.\u003c/p>\n\u003cfigure id=\"attachment_13837006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8570-800x533.jpg\" alt=\"Ivana Zubonja, Julia Wu and friends celebrate Croatia's win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivana Zubonja, Julia Wu and friends celebrate Croatia’s win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, like any performance, it was over. And the assembled audience, with all of our assorted reasons for being there, fair-weather fans and diehard supporters alike, rose almost as one, and began to file out of the outdoor theater of the park. Back to home or offices or Napa or whatever other obligations awaited our afternoon. On my way out, I ran into Ivana Zubonja and her friends again, and we exchanged high fives. “See you at the final,” she confirmed, as we dispersed our separate ways.\u003c/p>\n\u003cp>Definitely.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch the public screening of the World Cup final at the Civic Center on Sunday, July 15, at 8am. \u003ca href=\"https://www.worldcupsf.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you don’t watch soccer, you’ve probably heard it referred to at some point as “the beautiful game.” While the exact origin of the phrase is in some dispute (like “beatnik,” there are a few claimants), it’s become one of the default phrases employed to describe the sport as a whole. And while beauty is very much in the eye of the beholder, one need only watch a replay of the \u003ca href=\"https://www.youtube.com/watch?v=XLa9wP-BVzQ\" target=\"_blank\" rel=\"noopener noreferrer\">first goal scored\u003c/a> in the England-Croatia World Cup semifinal match by English defender Kieran Trippier—a swooping arc flying first over the heads of Croatia’s defensive “wall,” then soaring above goalkeeper Danijel Subašić to smash into the back of the net—to get a sense of the game’s \u003cem>potential\u003c/em> for beautiful moments.\u003c/p>\n\u003cp>In fact, there’s so much potential for beauty in soccer, especially at the World Cup level, that it can move an arts journalist such as myself to spend the better part of a month lurking in dark bars at 7am. As the games have progressed from knockout rounds, to the final sixteen, the final eight, the quarterfinals, and the best of the best (or sometimes just the luckiest) inching their way to this weekend’s finals, I find I can hardly resist the very theatre-like qualities of the World Cup and, particularly in large outdoor public screenings, its fans.\u003c/p>\n\u003cfigure id=\"attachment_13836997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8531-800x533.jpg\" alt=\"Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soccer has so much happening that it could be said to encompass a wide variety of art forms within its sweaty bosom. The almost balletic precision of Spain’s “tiki-taka” passing game as contrasted with the spontaneous improv of a lucky header such as that of Belgium’s Jan Vertonghen against Japan, a literal long shot turned unexpected goal. The physical beauty of athletic bodies in motion, without giant helmets or baggy trousers to mar the view. The high drama of high stakes leading to shoving matches and shouted epithets on the pitch (to say nothing of the stands), some inspired by fresh insults, some by deep-seated rivalries stretching back generations. The low humor of a ball planted squarely in England defender Kyle Walker’s \u003cem>bollocks\u003c/em> and the unabashed emotion on the faces of the Croatian team after cementing their winning goal in the 109th minute of play, particularly \u003ca href=\"https://petapixel.com/2018/07/12/photographer-gets-dog-piled-at-world-cup-and-keeps-on-shooting/\">as captured by Salvadoran photojournalist Yuri Cortez\u003c/a>, who was buried in the middle of their celebratory dogpile.\u003c/p>\n\u003cfigure id=\"attachment_13836996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836996\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8528-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sue Bierman Park, a grassy knoll sandwiched between Drumm and the Embarcadero, a crowd gathered Wednesday to watch an outdoor screening of the World Cup semi-final match between England and Croatia, a courtesy provided by San Francisco Parks and Recreation (the final will be screened at the Civic Center on Sunday, July 15). Unlike many of the bars that show World Cup games in San Francisco, these outdoor screenings have a way of drawing supporters of both teams, and yet none (that I’ve been to) have had any serious altercations. We are civil “football” fans in SF, it seems, but that doesn’t stop the pageantry, people wrapped in flags, facepaint, team colors, or the palpable tension and anticipation that rises with each unpredictable twist in plot. Folks from all walks of life come to represent and be represented. For them, as well as for the players looming on the giant screen above us, a World Cup soccer game can be emotionally challenging, physically demanding, and potentially transcendent.\u003c/p>\n\u003cfigure id=\"attachment_13837003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8558-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although at first glance, and second count, supporters of England appeared to outnumber those of Croatia at the screening, as the game progressed and Croatia’s chances improved, those few appeared to swell in number, or at least in appreciative vocalization. And while it might be inappropriate to make such sounds at a particularly stirring Symphony performance, it would certainly not be out of place after a beautifully improvised jazz solo or a fan favorite rock anthem played third on the set list at the Independent. The groans and “come ooooooon”’s of fan frustration might just as easily (though not as publicly) come out of a stage-builder’s mouth at a wayward flat or a misplaced drill bit.\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>And what other high-stakes sporting event in San Francisco could bring groups of friends (such as SF Hibernian teammates Carly Andler and Bethany Barker, supporting Croatia and England respectively), and even families (such as that of the Takhars, England supporters, save for grandmother Dori Jafarieh, holding out for Croatia), out in force to sit together while supporting different teams, yet still maintain conviviality and an appreciation not just for results, but for the experience of the game as performance?\u003c/p>\n\u003cfigure id=\"attachment_13836986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8483-800x533.jpg\" alt=\"Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>England-born Napa resident Nicky Robert might have come out ostensibly to support Gareth Southgate’s scrappy underdogs, but really, she was just glad for a day in the sun watching them go as far as they could in enthusiastic company. As for Croatian-born Ivana Zubonja however, nothing but a Croatian win would do. Her pride for her team radiated from her checkerboard jersey, and her cheers could be heard from halfway across the park when they equalized. And do any of them find beauty in the “beautiful game”? Not everyone seemed too sure about that, but England supporter Paul Griffith, “old enough to remember when the phrase applied to the Brazilian attacking game,” certainly did.\u003c/p>\n\u003cp>“I know it’s really physics, and all that. But watching the ball curve (into the goal) seems magical.”\u003c/p>\n\u003cfigure id=\"attachment_13836992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8504-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what a performance it was. With England up a point the entire first half, it felt like Croatia was having to chip away at their strength with Sisyphean struggle, one step forward, two steps back. But their practiced slog yielded the intended result in the 68th minute, as Croatian Ivan Perišić landed a controversial goal that fired up not just the patient Croatian supporters at Sue Bierman park, but the National team, who seemed in the moment to shake off any lingering dejection to dominate the rest of the game. England’s goalkeeper Jordan Pickford often seeming like the only player really standing between Croatia and the ball, as England’s defense appeared uncertain how to stop Croatia from shooting at a goal—save for that aforementioned Kyle Walker bollock-block, a sacrifice soon forgotten as Mario Mandžukić drove in a second goal for Croatia three minutes later at the 109th minute of play. A moment that seems to burden the English team with an extra 10 years’ worth of haggard lines (though the younger team by far), just as it washed the fraught exhaustion from Croatia’s faces as they mobbed each other, and Yuri Gomez, in their beatific joy.\u003c/p>\n\u003cfigure id=\"attachment_13837006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8570-800x533.jpg\" alt=\"Ivana Zubonja, Julia Wu and friends celebrate Croatia's win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivana Zubonja, Julia Wu and friends celebrate Croatia’s win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, like any performance, it was over. And the assembled audience, with all of our assorted reasons for being there, fair-weather fans and diehard supporters alike, rose almost as one, and began to file out of the outdoor theater of the park. Back to home or offices or Napa or whatever other obligations awaited our afternoon. On my way out, I ran into Ivana Zubonja and her friends again, and we exchanged high fives. “See you at the final,” she confirmed, as we dispersed our separate ways.\u003c/p>\n\u003cp>Definitely.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch the public screening of the World Cup final at the Civic Center on Sunday, July 15, at 8am. \u003ca href=\"https://www.worldcupsf.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Moonlight Revels and Fairy Magic in 'A Midsummer Night’s Dream'",
"headTitle": "Moonlight Revels and Fairy Magic in ‘A Midsummer Night’s Dream’ | KQED",
"content": "\u003cp>The magic doesn’t really begin at SF Shakes’ production of \u003cem>A Midsummer Night’s Dream\u003c/em> until the staged rise of an enormous crescent moon, above the festival’s most inventive set piece, designed by Neal Ormond: a massive, hollowed-out tree trunk fitted with charming “mushroom” platforms for the play’s fairies to gambol and sleep upon.\u003c/p>\n\u003cp>It’s when the fairies enter, in a blur of sequins and chatter, that the play settles into itself. With their presence, they signal its fantastical core, a realm where disbelief must be willingly suspended. It’s a realm where Amazons wed, lovers’ messy quadrangles become sport for mischief-makers, and a loud blowhard might become a literal ass.\u003c/p>\n\u003cfigure id=\"attachment_13836796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-800x770.jpg\" alt=\"\" width=\"800\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-800x770.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-768x740.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-960x924.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-240x231.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-375x361.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-520x501.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Muterspaugh as Oberon and James Lewis as Puck plot some mischief. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here is “proud Titania” (Livia Gomes Demarchi) and her overbearing consort Oberon (Stephen Muterspaugh) arguing over the fate of a changeling boy in her charge. Here is the impish Puck (a long-limbed, green-haired James Lewis) and a cacophony of fairy folk to accompany the proceedings and score it with their drums. There is little nuance in the action. The outdoor setting, the multi-generational audience, the still-persistent light of the sun (Free Shakespeare in the Park’s evening shows start at 7pm this year) all demand a less-than-light touch by the performers onstage, even when inhabiting the characters of woodland sprites.\u003c/p>\n\u003cp>The works of William Shakespeare mean many things to different people, but love them or hate them, it’s hard to argue with their staying power. And while seeing them in the pomp and grandeur of a well-appointed theater can be a rich sensory experience, to see them outdoors in the company of anyone who can afford the price of “free” is an experience more akin to Shakespeare’s Elizabethan times, where theater was often performed in low-cost public houses and served as entertainment for audiences far more diverse than just the monied elite.\u003c/p>\n\u003cfigure id=\"attachment_13836860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-800x444.jpg\" alt=\"\" width=\"800\" height=\"444\" class=\"size-medium wp-image-13836860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-768x426.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-960x533.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-375x208.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Rosemarie Kingfisher as Cobweb, Julie Douglas as Mote, James Lewis as Robin Goodfellow (the Puck), Sean Garahan as Mustardseed, and Melanie Marshall as Peaseblossom in San Francisco Shakespeare Festival’s 2018 Free Shakespeare in the Park production of A Midsummer Night’s Dream. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Midsummer Night’s Dream\u003c/em> is a perfect example of this kind of multi-purpose, populist comedy: allusion to ancient mythology (the central human characters include Athenian hero Theseus and the Amazon Queen Hippolyta, played respectively by Muterspaugh and Demarchi), roles for musicians and acrobats, moments of lewd “low” humor, and a willingness to not let finer plot points stand in the way of a mostly happy ending.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>True, San Francisco Shakespeare Company’s version, directed by company Artistic Director Rebecca J. Ennals, is hardly a flawless production. Even with the roles doubled, the cast numbers close to 20, not all of whom deliver as polished a performance as seasoned SF Shakes veteran Michael Ray Wisely as the bombastic Bottom. During the July 8 performance there were persistent sound issues as actors wandered in and out of range of the mics, and a nearby spontaneous fireworks display threatened to steal focus from the pending onstage celebration of the joint weddings of Theseus and Hippolyta, Hermia and Lysander (Patricia Austin and Akaina Ghosh), Helena and Demetrius (Lauren Spencer and Ed Berkeley).\u003c/p>\n\u003cp>But as the sun falls enough for John Bernard’s production lights to be added into the mix, and the fairy conspiracy to meddle in the tiresome love lives of mortals finally works to everyone’s advantage, it becomes easier to surrender to the production’s inherent charms: the musicality of the language, the clever asides, and the colorful costuming (designed by Hyun Sook Kim) inspired by forest floor and regal tapestry.\u003c/p>\n\u003cp>Each performer in a doubled role has a way of conveying the underlying similarities between the mortal and fairy counterpart. Demarchi’s regal disdain imbues both her Hippolyta and Titania with a do-not-mess-with attitude, Muterspaugh’s oratory tone serves both his Theseus and Oberon, and the Rude Mechanicals, a droll bunch of artisans trying their hand at playacting before the Athenian court, double aptly as the attendant fairies in Titania and Oberon’s magical realm, performing for the amusement of the greater court—that is to say, the assembled audience.\u003c/p>\n\u003cfigure id=\"attachment_13836861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13836861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rude Mechanicals: (L to R) Rosemarie Kingfisher as Robin Starveling, Melanie Marshall as Tom Snout, Michael Ray Wisely as Nick Bottom (playing Pyramus), Sean Garahan as Francis Flute (playing Thisbe), and Michael J. Asberry as Peter Quince in San Francisco Shakespeare Festival’s 2018 Free Shakespeare in the Park production of A Midsummer Night’s Dream. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of the Rude Mechanicals, the often-broad cuts to their earnest play-within-a-play generally reduce their efforts to a single scene involving a wall and crude innuendo, but Ennals instead chooses to let them have their full moment in the spotlight, a choice received enthusiastically by the younger members of the audience, as wigs fly off, a lion meows coquettishly, and an over-the-top \u003ca href=\"https://www.youtube.com/watch?v=QCOzKufIIzs\">Paul Ruebens-as-Amilyn-worthy\u003c/a> death scene sends up “serious theater” much as the entire plot of the play-without does.\u003c/p>\n\u003cp>Best of all, as a touring production, \u003cem>A Midsummer Night’s Dream\u003c/em> can be seen not only in Pleasanton’s Amador Valley Community Park where it plays through July 15, but also in Cupertino, Redwood City, San Francisco’s Presidio, and McLaren Park—giving ample opportunity to see Shakespeare as Shakespeare might have seen it: under an open sky and in the company of “honest neighbors” and “gentles” all.\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>‘A Midsummer Night’s Dream’ runs through Sept. 23 at various venues in Pleasanton, Cupertino, Redwood City, and San Francisco. No tickets required. More information and details \u003ca href=\"http://www.sfshakes.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Performed outdoors, for free, 'A Midsummer Night’s Dream' is a perfect example of the Elizabethan era's multi-purpose, populist comedy.",
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"title": "Moonlight Revels and Fairy Magic in 'A Midsummer Night’s Dream' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The magic doesn’t really begin at SF Shakes’ production of \u003cem>A Midsummer Night’s Dream\u003c/em> until the staged rise of an enormous crescent moon, above the festival’s most inventive set piece, designed by Neal Ormond: a massive, hollowed-out tree trunk fitted with charming “mushroom” platforms for the play’s fairies to gambol and sleep upon.\u003c/p>\n\u003cp>It’s when the fairies enter, in a blur of sequins and chatter, that the play settles into itself. With their presence, they signal its fantastical core, a realm where disbelief must be willingly suspended. It’s a realm where Amazons wed, lovers’ messy quadrangles become sport for mischief-makers, and a loud blowhard might become a literal ass.\u003c/p>\n\u003cfigure id=\"attachment_13836796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-800x770.jpg\" alt=\"\" width=\"800\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-800x770.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-768x740.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-960x924.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-240x231.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-375x361.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-520x501.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-Shakes_Midsummer_Oberon_Puck.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Muterspaugh as Oberon and James Lewis as Puck plot some mischief. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here is “proud Titania” (Livia Gomes Demarchi) and her overbearing consort Oberon (Stephen Muterspaugh) arguing over the fate of a changeling boy in her charge. Here is the impish Puck (a long-limbed, green-haired James Lewis) and a cacophony of fairy folk to accompany the proceedings and score it with their drums. There is little nuance in the action. The outdoor setting, the multi-generational audience, the still-persistent light of the sun (Free Shakespeare in the Park’s evening shows start at 7pm this year) all demand a less-than-light touch by the performers onstage, even when inhabiting the characters of woodland sprites.\u003c/p>\n\u003cp>The works of William Shakespeare mean many things to different people, but love them or hate them, it’s hard to argue with their staying power. And while seeing them in the pomp and grandeur of a well-appointed theater can be a rich sensory experience, to see them outdoors in the company of anyone who can afford the price of “free” is an experience more akin to Shakespeare’s Elizabethan times, where theater was often performed in low-cost public houses and served as entertainment for audiences far more diverse than just the monied elite.\u003c/p>\n\u003cfigure id=\"attachment_13836860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-800x444.jpg\" alt=\"\" width=\"800\" height=\"444\" class=\"size-medium wp-image-13836860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-768x426.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-960x533.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-375x208.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-3.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Rosemarie Kingfisher as Cobweb, Julie Douglas as Mote, James Lewis as Robin Goodfellow (the Puck), Sean Garahan as Mustardseed, and Melanie Marshall as Peaseblossom in San Francisco Shakespeare Festival’s 2018 Free Shakespeare in the Park production of A Midsummer Night’s Dream. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Midsummer Night’s Dream\u003c/em> is a perfect example of this kind of multi-purpose, populist comedy: allusion to ancient mythology (the central human characters include Athenian hero Theseus and the Amazon Queen Hippolyta, played respectively by Muterspaugh and Demarchi), roles for musicians and acrobats, moments of lewd “low” humor, and a willingness to not let finer plot points stand in the way of a mostly happy ending.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>True, San Francisco Shakespeare Company’s version, directed by company Artistic Director Rebecca J. Ennals, is hardly a flawless production. Even with the roles doubled, the cast numbers close to 20, not all of whom deliver as polished a performance as seasoned SF Shakes veteran Michael Ray Wisely as the bombastic Bottom. During the July 8 performance there were persistent sound issues as actors wandered in and out of range of the mics, and a nearby spontaneous fireworks display threatened to steal focus from the pending onstage celebration of the joint weddings of Theseus and Hippolyta, Hermia and Lysander (Patricia Austin and Akaina Ghosh), Helena and Demetrius (Lauren Spencer and Ed Berkeley).\u003c/p>\n\u003cp>But as the sun falls enough for John Bernard’s production lights to be added into the mix, and the fairy conspiracy to meddle in the tiresome love lives of mortals finally works to everyone’s advantage, it becomes easier to surrender to the production’s inherent charms: the musicality of the language, the clever asides, and the colorful costuming (designed by Hyun Sook Kim) inspired by forest floor and regal tapestry.\u003c/p>\n\u003cp>Each performer in a doubled role has a way of conveying the underlying similarities between the mortal and fairy counterpart. Demarchi’s regal disdain imbues both her Hippolyta and Titania with a do-not-mess-with attitude, Muterspaugh’s oratory tone serves both his Theseus and Oberon, and the Rude Mechanicals, a droll bunch of artisans trying their hand at playacting before the Athenian court, double aptly as the attendant fairies in Titania and Oberon’s magical realm, performing for the amusement of the greater court—that is to say, the assembled audience.\u003c/p>\n\u003cfigure id=\"attachment_13836861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13836861\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SF-SHAKES-Midsummer-4.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rude Mechanicals: (L to R) Rosemarie Kingfisher as Robin Starveling, Melanie Marshall as Tom Snout, Michael Ray Wisely as Nick Bottom (playing Pyramus), Sean Garahan as Francis Flute (playing Thisbe), and Michael J. Asberry as Peter Quince in San Francisco Shakespeare Festival’s 2018 Free Shakespeare in the Park production of A Midsummer Night’s Dream. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of the Rude Mechanicals, the often-broad cuts to their earnest play-within-a-play generally reduce their efforts to a single scene involving a wall and crude innuendo, but Ennals instead chooses to let them have their full moment in the spotlight, a choice received enthusiastically by the younger members of the audience, as wigs fly off, a lion meows coquettishly, and an over-the-top \u003ca href=\"https://www.youtube.com/watch?v=QCOzKufIIzs\">Paul Ruebens-as-Amilyn-worthy\u003c/a> death scene sends up “serious theater” much as the entire plot of the play-without does.\u003c/p>\n\u003cp>Best of all, as a touring production, \u003cem>A Midsummer Night’s Dream\u003c/em> can be seen not only in Pleasanton’s Amador Valley Community Park where it plays through July 15, but also in Cupertino, Redwood City, San Francisco’s Presidio, and McLaren Park—giving ample opportunity to see Shakespeare as Shakespeare might have seen it: under an open sky and in the company of “honest neighbors” and “gentles” all.\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>‘A Midsummer Night’s Dream’ runs through Sept. 23 at various venues in Pleasanton, Cupertino, Redwood City, and San Francisco. No tickets required. More information and details \u003ca href=\"http://www.sfshakes.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Stage Revival, and 50 Years of Survival, For 'The Boys In The Band'",
"headTitle": "A Stage Revival, and 50 Years of Survival, For ‘The Boys In The Band’ | KQED",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/625355423/625981019\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This story includes language that some may find offensive.\u003c/em>\u003c/p>\n\u003cp>It was 1968. But playwright Mart Crowley felt he had to write what he knew.\u003c/p>\n\u003cp>“Nobody wanted the play,” Crowley says. “Not even agents wanted to look at this play. They just thought it was pornographic and it was outrageous.”\u003c/p>\n\u003cp>What he wrote in \u003cem>The Boys in the Band\u003c/em> was a thinly veiled slice of autobiographical fiction. A group of gay friends gather for a raucous birthday party; by the end of the evening, secrets are spilled, tears are shed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The playwright says he wanted to capture “the atmosphere of what it was like to be gay and everything you did or felt was against the law, and that you could get arrested for almost anything and it could be blamed on that.”\u003c/p>\n\u003cp>Crowley points to one important line that he wrote: “Not all faggots bump themselves off at the end of the story.” It’s voiced by the character he based on himself.\u003c/p>\n\u003cp>“He was talking about plays in which most of the time, when there was a gay character, they wind up committing suicide or getting beaten to death or sent to prison,” Crowley says. “There was always a terrible fate for anybody who was gay. And so, I was determined not to have that happen, here in this.”\u003c/p>\n\u003cp>In the 50 years since\u003cem> The Boys in the Band\u003c/em> opened, the play has been both lionized as a path-breaking depiction of gay life in the 1960s, and criticized for antiquated attitudes that run counter to the current LGBTQ movement. It’s \u003ca href=\"http://boysintheband.com/\">being revived currently on Broadway\u003c/a>, with a cast that includes TV and film stars Jim Parsons, Matt Bomer and Zachary Quinto. But it’s also important to remember that in those 50 years, many of the original cast and crew died of AIDS.\u003c/p>\n\u003cp>When some courageous producers first took on \u003cem>The Boys in the Band\u003c/em>, the play became a phenomenon. It ran over 1,000 performances off-Broadway, and saw productions across the country and around the world. And it was adapted into a film.\u003c/p>\n\u003cp>Laurence Luckinbill played the character Hank in the original play and the film. Luckinbill, who was a college friend of Crowley’s and is straight, says getting actors to appear in \u003cem>The Boys in the Band\u003c/em> was difficult.\u003c/p>\n\u003cp>“I went and told my agent — who was gay, whose husband was gay, who were closeted — and I said, ‘I’m going to do the play,'” Luckinbill says. “And she said, ‘Well, there goes your career.'”\u003c/p>\n\u003cp>Despite the play’s success, he did lose jobs, including a contract for cigarette commercials.\u003c/p>\n\u003cp>“The only answer they would give me, it was from the head guy, and he said, ‘No fags smoke our fags,'” Luckinbill says.\u003c/p>\n\u003cp>There was even backlash from within the gay community. Luckinbill says an early activist organization denounced the play the day after it opened.\u003c/p>\n\u003cp>“The Mattachine Society criticized us, whining [it] made gay people look bad,” he says.\u003c/p>\n\u003cp>A year after the opening came the Stonewall riots, when members of New York’s gay community protested a police raid on a bar in Greenwich Village. That marked the beginning of the modern gay rights movement. And in the following years, the AIDS crisis took the lives of five of the actors, the stage manager, two producers and the director.\u003c/p>\n\u003cp>\u003cem>“\u003c/em>And so they basically fell in battle as far as I’m concerned,” Luckinbill says.\u003c/p>\n\u003cp>Tuc Watkins plays the same role in the revival that Laurence Luckinbill played in the original.\u003c/p>\n\u003cp>“My initial reaction was: Why are we going to go up into the attic and look at that thing again?” Watkins says. “Because I have come from a place of: I want to be out and proud and move forward and make progress. And it wasn’t until we read it and we started talking about it that I was reminded that we need to know where we came from in order to move forward and appreciate the freedoms that we have.”\u003c/p>\n\u003cp>The revival is directed by Joe Mantello, who assembled a cast of nine openly gay actors. Mantello says even he was a little concerned that the play wouldn’t speak to gay life in 2018.\u003c/p>\n\u003cp>“This play can’t possibly speak for everyone,” Mantello says. “But it did speak for Mart [Crowley] and it is Mart’s truth. And I think it holds up beautifully.”\u003c/p>\n\u003cp>For his part, Mart Crowley is happy that \u003cem>The Boys in the Band\u003c/em> finally made it to Broadway. And actor Brian Hutchison says it still connects with audiences on a very personal level. One evening after the play, he met two men in their 80s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And one of the guys just burst into tears and they were streaming down his face and he couldn’t really speak,” Hutchison says. “And his friend said, ‘You moved him more than you know. He’s had a rough road.’ … It’s deeply moving to know that there are still people coming to the play who were living that life, you know, and they’re still living that life or have those regrets.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Stage+Revival%2C+And+50+Years+Of+Survival%2C+For+%27The+Boys+In+The+Band%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Ever since Mart Crowley's play about a gay male life premiered off-Broadway in 1968, much of the original cast and crew has died of AIDS. A new, star-studded production acknowledges that history.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/625355423/625981019\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This story includes language that some may find offensive.\u003c/em>\u003c/p>\n\u003cp>It was 1968. But playwright Mart Crowley felt he had to write what he knew.\u003c/p>\n\u003cp>“Nobody wanted the play,” Crowley says. “Not even agents wanted to look at this play. They just thought it was pornographic and it was outrageous.”\u003c/p>\n\u003cp>What he wrote in \u003cem>The Boys in the Band\u003c/em> was a thinly veiled slice of autobiographical fiction. A group of gay friends gather for a raucous birthday party; by the end of the evening, secrets are spilled, tears are shed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The playwright says he wanted to capture “the atmosphere of what it was like to be gay and everything you did or felt was against the law, and that you could get arrested for almost anything and it could be blamed on that.”\u003c/p>\n\u003cp>Crowley points to one important line that he wrote: “Not all faggots bump themselves off at the end of the story.” It’s voiced by the character he based on himself.\u003c/p>\n\u003cp>“He was talking about plays in which most of the time, when there was a gay character, they wind up committing suicide or getting beaten to death or sent to prison,” Crowley says. “There was always a terrible fate for anybody who was gay. And so, I was determined not to have that happen, here in this.”\u003c/p>\n\u003cp>In the 50 years since\u003cem> The Boys in the Band\u003c/em> opened, the play has been both lionized as a path-breaking depiction of gay life in the 1960s, and criticized for antiquated attitudes that run counter to the current LGBTQ movement. It’s \u003ca href=\"http://boysintheband.com/\">being revived currently on Broadway\u003c/a>, with a cast that includes TV and film stars Jim Parsons, Matt Bomer and Zachary Quinto. But it’s also important to remember that in those 50 years, many of the original cast and crew died of AIDS.\u003c/p>\n\u003cp>When some courageous producers first took on \u003cem>The Boys in the Band\u003c/em>, the play became a phenomenon. It ran over 1,000 performances off-Broadway, and saw productions across the country and around the world. And it was adapted into a film.\u003c/p>\n\u003cp>Laurence Luckinbill played the character Hank in the original play and the film. Luckinbill, who was a college friend of Crowley’s and is straight, says getting actors to appear in \u003cem>The Boys in the Band\u003c/em> was difficult.\u003c/p>\n\u003cp>“I went and told my agent — who was gay, whose husband was gay, who were closeted — and I said, ‘I’m going to do the play,'” Luckinbill says. “And she said, ‘Well, there goes your career.'”\u003c/p>\n\u003cp>Despite the play’s success, he did lose jobs, including a contract for cigarette commercials.\u003c/p>\n\u003cp>“The only answer they would give me, it was from the head guy, and he said, ‘No fags smoke our fags,'” Luckinbill says.\u003c/p>\n\u003cp>There was even backlash from within the gay community. Luckinbill says an early activist organization denounced the play the day after it opened.\u003c/p>\n\u003cp>“The Mattachine Society criticized us, whining [it] made gay people look bad,” he says.\u003c/p>\n\u003cp>A year after the opening came the Stonewall riots, when members of New York’s gay community protested a police raid on a bar in Greenwich Village. That marked the beginning of the modern gay rights movement. And in the following years, the AIDS crisis took the lives of five of the actors, the stage manager, two producers and the director.\u003c/p>\n\u003cp>\u003cem>“\u003c/em>And so they basically fell in battle as far as I’m concerned,” Luckinbill says.\u003c/p>\n\u003cp>Tuc Watkins plays the same role in the revival that Laurence Luckinbill played in the original.\u003c/p>\n\u003cp>“My initial reaction was: Why are we going to go up into the attic and look at that thing again?” Watkins says. “Because I have come from a place of: I want to be out and proud and move forward and make progress. And it wasn’t until we read it and we started talking about it that I was reminded that we need to know where we came from in order to move forward and appreciate the freedoms that we have.”\u003c/p>\n\u003cp>The revival is directed by Joe Mantello, who assembled a cast of nine openly gay actors. Mantello says even he was a little concerned that the play wouldn’t speak to gay life in 2018.\u003c/p>\n\u003cp>“This play can’t possibly speak for everyone,” Mantello says. “But it did speak for Mart [Crowley] and it is Mart’s truth. And I think it holds up beautifully.”\u003c/p>\n\u003cp>For his part, Mart Crowley is happy that \u003cem>The Boys in the Band\u003c/em> finally made it to Broadway. And actor Brian Hutchison says it still connects with audiences on a very personal level. One evening after the play, he met two men in their 80s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And one of the guys just burst into tears and they were streaming down his face and he couldn’t really speak,” Hutchison says. “And his friend said, ‘You moved him more than you know. He’s had a rough road.’ … It’s deeply moving to know that there are still people coming to the play who were living that life, you know, and they’re still living that life or have those regrets.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Stage+Revival%2C+And+50+Years+Of+Survival%2C+For+%27The+Boys+In+The+Band%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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