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"title": "How Crazy Do You Have to Be to Sit Through 15 Hours of Opera?",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was during the first intermission of \u003cem>The Ring\u003c/em> cycle, about three and a half hours into a 15-hour opera, that I saw my first audience member sleeping on the floor.\u003c/p>\n\u003cp>Seeing his head leaning against the wall, his jaw half-open, his hands loosely clasped around a program for Richard Wagner’s interminable masterwork, four words came to my mind: “I don’t blame him.”\u003c/p>\n\u003cp>I’ll be honest. I signed up to see \u003cem>The Ring\u003c/em> for one reason, and that’s to be able to say that I did it. Like reading \u003cem>War and Peace\u003c/em>, climbing Mount Everest, or running the Boston marathon, you see \u003cem>The Ring\u003c/em> at least in part for bragging rights. I came up playing in punk bands and listening to rap music, and while I’d grown to love some opera, my foundational years were not exactly proper training for 15 hours of it, spread over four days.\u003c/p>\n\u003cfigure id=\"attachment_13835978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg\" alt=\"Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner's 'Das Rheingold.'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13835978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1180x803.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner’s ‘Das Rheingold.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But something inexplicable happened to me, sitting there in the War Memorial Opera House, around the halfway point of \u003cem>The Ring\u003c/em>. All the story’s threads started coming together: the rampant greed of the characters, their betrayal and incest, the corruption of power on grand display. The musical motifs overlapped on each other, and began triggering emotional synapses that I couldn’t deny. Nothing about \u003cem>The Ring\u003c/em> is what you’d call “catchy,” but I was suddenly drawn to its music and lyrics more fiercely than any pop music I’d known.\u003c/p>\n\u003cp>What the hell was happening to me? The fantasy-saga of \u003cem>The Ring\u003c/em>—about an actual ring, made from stolen gold, that grants power over the world—is not something I normally enjoy. The ring changes hands between gods and mortals and giants and mythical creatures, over three generations. \u003cem>Whoop-de-doo\u003c/em>. There’s a man-child warrior (Siegfried), an avenging Valkyrie (Brünnhilde), a conniving God (Wotan), and dozens of others in a complex family tree. Visualize me, twirling my index finger in the air and rolling my eyes.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet I stumbled out of that third night’s production and onto Van Ness Avenue, with lunatic Wagner-worshipping fans all around me in lederhosen and horned helmets, and typed into my phone:\u003c/p>\n\u003cblockquote>\u003cp>DUDE ALL THE ELEMENTS ARE COMING TOGETHER I’M EVEN ROOTING FOR THE INCEST NOW PLUS THERE WAS A GIANT DEATH ROBOT WITH STEEL CLAWS INSIDE THE OPERA HOUSE IT IS BANANAS I AM HOOKED PLEASE JOIN MY RING FAN CLUB\u003c/p>\u003c/blockquote>\n\u003cp>Ten hours in, after three parts of \u003cem>The Ring\u003c/em> (\u003cem>Das Rheingold\u003c/em>, \u003cem>Die Walküre\u003c/em>, and \u003cem>Siegfried\u003c/em>, but before \u003cem>Götterdämmerung\u003c/em>), I’d witnessed power-hungry gods, adultery, brutal death, rapist giants killed, flaming hammers, a revolt by enslaved miners, and a guy who turns into a snake. I’d come into it ready to quit at the first moment of boredom, and now nothing, not even a giant death robot with steel claws, could stand in my way of seeing the \u003cem>The Ring\u003c/em> to completion.\u003c/p>\n\u003cfigure id=\"attachment_13835980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg\" alt=\"David Cangelosi as Mime in Wagner's 'Siegfried.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t helps that San Francisco Opera’s current \u003cem>Ring\u003c/em>—similar to its 2011 production, and again under the direction of Francesca Zambello—is not what newbies think of when they think of opera. Rather than vikings and braids and portly sopranos in breastplates, it opens like a psychedelic light show from the 1960s Fillmore, with a low-octave rumble as slow, formless swirls undulate on a massive projection screen. When the curtain comes up, it’s as if 200 teenagers have been \u003ca href=\"https://www.newyorker.com/magazine/2018/05/14/the-promise-of-vaping-and-the-rise-of-juul\" rel=\"noopener\" target=\"_blank\">Juuling\u003c/a> on stage, smoke spilling into the orchestra pit. From the start, you know this is something different.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Technically, the set is a marvel. Giants enter on a hanging I-beam. The Valkyries enter on parachutes. \u003ca href=\"https://sfopera.com/blog/top-dogs-train-for-the-opera-stage/\" rel=\"noopener\" target=\"_blank\">Two live dogs\u003c/a> race across the stage. An oversized hammer spews fireworks. A long bridge descends from the wings. An underground mine looks like a Richard Serra sculpture on PCP. A huge Cypress Structure-like freeway looms large. Lights projecting from the floor create eerie atmospheres. At one point, the entire stage is aflame around Brünnhilde.\u003c/p>\n\u003cfigure id=\"attachment_13835973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg\" alt=\"David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner's 'Siegfried.'\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13835973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-520x340.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thematically, in 2018, there’s a lot to chew on. It’s quite a thing to see an opera about the corruption of power during a week when the U.S. government is busy separating children from their parents and putting them in tent camps. (“I would never steal a cub from its mother,” Siegfried sings at one point.) And while Zambello has remarked that her \u003cem>Ring\u003c/em> is a \u003ca href=\"https://48hills.org/2018/06/ring-cycle-francesca-zambello-sf-opera/\" rel=\"noopener\" target=\"_blank\">lesson in environmentalism\u003c/a>, beginning in pre-Gold Rush California and spanning into the future, the production’s degradation of people’s living environments brings to mind those same child tent camps on the border—if not conditions in Puerto Rico, or even Division Street right here in San Francisco.\u003c/p>\n\u003cp>Perhaps this is the abiding achievement of \u003cem>The Ring\u003c/em>, this ability to reflect current events 140 years after its premiere. This production contains a daughter buried in bags of money as her rapist sings “Woman, your suffering is all your fault,” evoking Bill Cosby’s out-of-court settlements. It has Siegfried dunking a man’s head underwater until he gets what he wants, a reminder of Bush-era waterboarding. It contains a scene of women tending to a pile of cables and circuit boards; “our eternal knowledge,” they call it, plainly recalling the internet. There’s even an oath, taken on a spear, that amounts to Bill Clinton’s famous claim that “I did not have sexual relations with that woman.”\u003c/p>\n\u003cp>It makes you wonder: in 10 more years, give or take, when SF Opera likely mounts \u003cem>The Ring\u003c/em> again, which themes or characters will resonate most? What will the ring, a symbol of dominion over the world, represent to us then? What will we have learned from this moment in America? \u003c/p>\n\u003cfigure id=\"attachment_13835976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg\" alt=\"Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s 'Das Rheingold,' with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13835976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1180x845.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s ‘Das Rheingold,’ with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll of this is to say that I understand, now, the legions who call themselves the Ring Cult—the people who travel the world seeing entire \u003cem>Ring\u003c/em> cycles. (A spokesperson from SF Opera tells me that one couple flew into town from Europe to see all three complete cycles this month; I also saw a mother in the standing-room section so dedicated to \u003cem>The Ring\u003c/em> that she’d brought her baby, breastfeeding it at intermission.) Most folks think these people are crazy, but then, I think the same about those who memorize Pi to the 100th digit, or ride a bike across the country, or do hot yoga. We all have our forms of self-torture that, for whatever reason or another, benefit our soul.\u003c/p>\n\u003cp>Yes, \u003cem>The Ring\u003c/em> at times constitutes self-torture. Binge-watching television is a common analogue cited for watching 15 hours of \u003cem>The Ring\u003c/em>, except no television executive in the world could greenlight it without losing their job. It contains numerous prolonged sections of inner monologue and narration, redundant to an exasperating degree. Here are some notes I wrote while watching it:\u003c/p>\n\u003cblockquote>\u003cp>\n– \u003cem>It just took these people 5 minutes to say, basically, “It’s getting dark”\u003c/em>\u003c/p>\n\u003cp>– \u003cem>After 15 minutes of singing about it, the guy finally pulls the sword out of the tree\u003c/em>\u003c/p>\n\u003cp>– \u003cem>More endless singing about the weather\u003c/em>\u003c/p>\n\u003cp>– \u003cem>A half hour later and the story has not advanced one bit! They are still talking about the same thing they were talking about a half hour ago, which in itself was rehashing things that already happened earlier! Jesus Lord make it stop\u003c/em>\u003c/p>\n\u003cp>– \u003cem>This is really one overdramatic soap opera with 4 hours of explaining, arguing and whining, and 20 minutes of action\u003c/em>\u003c/p>\n\u003cp>– \u003cem>“A burning spell pierces my heart! My mind is reeling!… How shall I awaken her? Do I dare?” BLAH BLAH BLAH DUDE. “Yearning consumes me.” UGGGGGG\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13835974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg\" alt=\"Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13835974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-520x363.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut yes, this benefits the soul. These stretches, however maddening, are not mind-numbing. \u003cem>The Ring\u003c/em> is so long that it lulls one’s brain into a state of semi-hypnosis, resting but active. This is where the magic happens. Your mind floats above the story, free to think upon its greater themes, to weave them into your own life and your flashes of memory.\u003c/p>\n\u003cp>Meanwhile, the orchestra (in San Francisco, under the direction of Donald Runnicles), repeats Wagner’s \u003ca href=\"http://www.pjb.com.au/mus/wagner/\" rel=\"noopener\" target=\"_blank\">many leitmotifs\u003c/a>, tiny musical signals of character or plot or theme, feeding them to you subconsciously. You think they’re boring the hell out of you, but you are wrong. What they are doing, in essence, is rewiring your reality. \u003c/p>\n\u003cp>And then it all comes to a head—the swaying pocketwatch is snatched up, the fingers snap—and you’re back in the story with a new understanding of its world. The threads of character and music stack atop each other with greater and greater frequency. Suddenly, for the first time in 12 hours, there’s a full choir on the stage, bellowing loudly. The Earth is on the precipice of destruction. The heart rate quickens. It’s basically like watching the Warriors and the Lakers, tied 101-101 in the fourth quarter with 38 seconds to go.\u003c/p>\n\u003cfigure id=\"attachment_13835971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg\" alt=\"Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner's 'Götterdämmerung.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner’s ‘Götterdämmerung.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Opera House, before the final act of \u003cem>Götterdämmerung\u003c/em> and the final lap of my marathon of opera, my seatmate—a well-known classical critic from a national weekly magazine—turned to me and quipped, “Here we go…. now everyone lives happily ever after!”\u003c/p>\n\u003cp>I’ll spoil it for you: everyone does \u003cem>not\u003c/em> live happily ever after.\u003c/p>\n\u003cp>But I’m telling you, the next time \u003cem>The Ring\u003c/em> comes around, you might just see me in lederhosen and a horned helmet, sleeping on the floor between acts, and waiting to be transformed all over again.\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>\u003ci>The third and final cycle of ‘The Ring’ runs June 26–July 1 at the War Memorial Opera House in San Francisco. Tickets are $100–$535 for each part of the cycle, with $10 standing-room tickets available the morning of each performance, in person, cash only, at the box office at 10am. \u003ca href=\"https://sfopera.com/ring/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A first-timer's experience with 'The Ring,' Richard Wagner's epic four-part saga, in San Francisco Opera's current production.",
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"title": "How Crazy Do You Have to Be to Sit Through 15 Hours of Opera? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was during the first intermission of \u003cem>The Ring\u003c/em> cycle, about three and a half hours into a 15-hour opera, that I saw my first audience member sleeping on the floor.\u003c/p>\n\u003cp>Seeing his head leaning against the wall, his jaw half-open, his hands loosely clasped around a program for Richard Wagner’s interminable masterwork, four words came to my mind: “I don’t blame him.”\u003c/p>\n\u003cp>I’ll be honest. I signed up to see \u003cem>The Ring\u003c/em> for one reason, and that’s to be able to say that I did it. Like reading \u003cem>War and Peace\u003c/em>, climbing Mount Everest, or running the Boston marathon, you see \u003cem>The Ring\u003c/em> at least in part for bragging rights. I came up playing in punk bands and listening to rap music, and while I’d grown to love some opera, my foundational years were not exactly proper training for 15 hours of it, spread over four days.\u003c/p>\n\u003cfigure id=\"attachment_13835978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg\" alt=\"Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner's 'Das Rheingold.'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13835978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1180x803.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner’s ‘Das Rheingold.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But something inexplicable happened to me, sitting there in the War Memorial Opera House, around the halfway point of \u003cem>The Ring\u003c/em>. All the story’s threads started coming together: the rampant greed of the characters, their betrayal and incest, the corruption of power on grand display. The musical motifs overlapped on each other, and began triggering emotional synapses that I couldn’t deny. Nothing about \u003cem>The Ring\u003c/em> is what you’d call “catchy,” but I was suddenly drawn to its music and lyrics more fiercely than any pop music I’d known.\u003c/p>\n\u003cp>What the hell was happening to me? The fantasy-saga of \u003cem>The Ring\u003c/em>—about an actual ring, made from stolen gold, that grants power over the world—is not something I normally enjoy. The ring changes hands between gods and mortals and giants and mythical creatures, over three generations. \u003cem>Whoop-de-doo\u003c/em>. There’s a man-child warrior (Siegfried), an avenging Valkyrie (Brünnhilde), a conniving God (Wotan), and dozens of others in a complex family tree. Visualize me, twirling my index finger in the air and rolling my eyes.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet I stumbled out of that third night’s production and onto Van Ness Avenue, with lunatic Wagner-worshipping fans all around me in lederhosen and horned helmets, and typed into my phone:\u003c/p>\n\u003cblockquote>\u003cp>DUDE ALL THE ELEMENTS ARE COMING TOGETHER I’M EVEN ROOTING FOR THE INCEST NOW PLUS THERE WAS A GIANT DEATH ROBOT WITH STEEL CLAWS INSIDE THE OPERA HOUSE IT IS BANANAS I AM HOOKED PLEASE JOIN MY RING FAN CLUB\u003c/p>\u003c/blockquote>\n\u003cp>Ten hours in, after three parts of \u003cem>The Ring\u003c/em> (\u003cem>Das Rheingold\u003c/em>, \u003cem>Die Walküre\u003c/em>, and \u003cem>Siegfried\u003c/em>, but before \u003cem>Götterdämmerung\u003c/em>), I’d witnessed power-hungry gods, adultery, brutal death, rapist giants killed, flaming hammers, a revolt by enslaved miners, and a guy who turns into a snake. I’d come into it ready to quit at the first moment of boredom, and now nothing, not even a giant death robot with steel claws, could stand in my way of seeing the \u003cem>The Ring\u003c/em> to completion.\u003c/p>\n\u003cfigure id=\"attachment_13835980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg\" alt=\"David Cangelosi as Mime in Wagner's 'Siegfried.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t helps that San Francisco Opera’s current \u003cem>Ring\u003c/em>—similar to its 2011 production, and again under the direction of Francesca Zambello—is not what newbies think of when they think of opera. Rather than vikings and braids and portly sopranos in breastplates, it opens like a psychedelic light show from the 1960s Fillmore, with a low-octave rumble as slow, formless swirls undulate on a massive projection screen. When the curtain comes up, it’s as if 200 teenagers have been \u003ca href=\"https://www.newyorker.com/magazine/2018/05/14/the-promise-of-vaping-and-the-rise-of-juul\" rel=\"noopener\" target=\"_blank\">Juuling\u003c/a> on stage, smoke spilling into the orchestra pit. From the start, you know this is something different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Technically, the set is a marvel. Giants enter on a hanging I-beam. The Valkyries enter on parachutes. \u003ca href=\"https://sfopera.com/blog/top-dogs-train-for-the-opera-stage/\" rel=\"noopener\" target=\"_blank\">Two live dogs\u003c/a> race across the stage. An oversized hammer spews fireworks. A long bridge descends from the wings. An underground mine looks like a Richard Serra sculpture on PCP. A huge Cypress Structure-like freeway looms large. Lights projecting from the floor create eerie atmospheres. At one point, the entire stage is aflame around Brünnhilde.\u003c/p>\n\u003cfigure id=\"attachment_13835973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg\" alt=\"David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner's 'Siegfried.'\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13835973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-520x340.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thematically, in 2018, there’s a lot to chew on. It’s quite a thing to see an opera about the corruption of power during a week when the U.S. government is busy separating children from their parents and putting them in tent camps. (“I would never steal a cub from its mother,” Siegfried sings at one point.) And while Zambello has remarked that her \u003cem>Ring\u003c/em> is a \u003ca href=\"https://48hills.org/2018/06/ring-cycle-francesca-zambello-sf-opera/\" rel=\"noopener\" target=\"_blank\">lesson in environmentalism\u003c/a>, beginning in pre-Gold Rush California and spanning into the future, the production’s degradation of people’s living environments brings to mind those same child tent camps on the border—if not conditions in Puerto Rico, or even Division Street right here in San Francisco.\u003c/p>\n\u003cp>Perhaps this is the abiding achievement of \u003cem>The Ring\u003c/em>, this ability to reflect current events 140 years after its premiere. This production contains a daughter buried in bags of money as her rapist sings “Woman, your suffering is all your fault,” evoking Bill Cosby’s out-of-court settlements. It has Siegfried dunking a man’s head underwater until he gets what he wants, a reminder of Bush-era waterboarding. It contains a scene of women tending to a pile of cables and circuit boards; “our eternal knowledge,” they call it, plainly recalling the internet. There’s even an oath, taken on a spear, that amounts to Bill Clinton’s famous claim that “I did not have sexual relations with that woman.”\u003c/p>\n\u003cp>It makes you wonder: in 10 more years, give or take, when SF Opera likely mounts \u003cem>The Ring\u003c/em> again, which themes or characters will resonate most? What will the ring, a symbol of dominion over the world, represent to us then? What will we have learned from this moment in America? \u003c/p>\n\u003cfigure id=\"attachment_13835976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg\" alt=\"Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s 'Das Rheingold,' with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13835976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1180x845.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s ‘Das Rheingold,’ with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll of this is to say that I understand, now, the legions who call themselves the Ring Cult—the people who travel the world seeing entire \u003cem>Ring\u003c/em> cycles. (A spokesperson from SF Opera tells me that one couple flew into town from Europe to see all three complete cycles this month; I also saw a mother in the standing-room section so dedicated to \u003cem>The Ring\u003c/em> that she’d brought her baby, breastfeeding it at intermission.) Most folks think these people are crazy, but then, I think the same about those who memorize Pi to the 100th digit, or ride a bike across the country, or do hot yoga. We all have our forms of self-torture that, for whatever reason or another, benefit our soul.\u003c/p>\n\u003cp>Yes, \u003cem>The Ring\u003c/em> at times constitutes self-torture. Binge-watching television is a common analogue cited for watching 15 hours of \u003cem>The Ring\u003c/em>, except no television executive in the world could greenlight it without losing their job. It contains numerous prolonged sections of inner monologue and narration, redundant to an exasperating degree. Here are some notes I wrote while watching it:\u003c/p>\n\u003cblockquote>\u003cp>\n– \u003cem>It just took these people 5 minutes to say, basically, “It’s getting dark”\u003c/em>\u003c/p>\n\u003cp>– \u003cem>After 15 minutes of singing about it, the guy finally pulls the sword out of the tree\u003c/em>\u003c/p>\n\u003cp>– \u003cem>More endless singing about the weather\u003c/em>\u003c/p>\n\u003cp>– \u003cem>A half hour later and the story has not advanced one bit! They are still talking about the same thing they were talking about a half hour ago, which in itself was rehashing things that already happened earlier! Jesus Lord make it stop\u003c/em>\u003c/p>\n\u003cp>– \u003cem>This is really one overdramatic soap opera with 4 hours of explaining, arguing and whining, and 20 minutes of action\u003c/em>\u003c/p>\n\u003cp>– \u003cem>“A burning spell pierces my heart! My mind is reeling!… How shall I awaken her? Do I dare?” BLAH BLAH BLAH DUDE. “Yearning consumes me.” UGGGGGG\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13835974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg\" alt=\"Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13835974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-520x363.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut yes, this benefits the soul. These stretches, however maddening, are not mind-numbing. \u003cem>The Ring\u003c/em> is so long that it lulls one’s brain into a state of semi-hypnosis, resting but active. This is where the magic happens. Your mind floats above the story, free to think upon its greater themes, to weave them into your own life and your flashes of memory.\u003c/p>\n\u003cp>Meanwhile, the orchestra (in San Francisco, under the direction of Donald Runnicles), repeats Wagner’s \u003ca href=\"http://www.pjb.com.au/mus/wagner/\" rel=\"noopener\" target=\"_blank\">many leitmotifs\u003c/a>, tiny musical signals of character or plot or theme, feeding them to you subconsciously. You think they’re boring the hell out of you, but you are wrong. What they are doing, in essence, is rewiring your reality. \u003c/p>\n\u003cp>And then it all comes to a head—the swaying pocketwatch is snatched up, the fingers snap—and you’re back in the story with a new understanding of its world. The threads of character and music stack atop each other with greater and greater frequency. Suddenly, for the first time in 12 hours, there’s a full choir on the stage, bellowing loudly. The Earth is on the precipice of destruction. The heart rate quickens. It’s basically like watching the Warriors and the Lakers, tied 101-101 in the fourth quarter with 38 seconds to go.\u003c/p>\n\u003cfigure id=\"attachment_13835971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg\" alt=\"Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner's 'Götterdämmerung.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner’s ‘Götterdämmerung.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Opera House, before the final act of \u003cem>Götterdämmerung\u003c/em> and the final lap of my marathon of opera, my seatmate—a well-known classical critic from a national weekly magazine—turned to me and quipped, “Here we go…. now everyone lives happily ever after!”\u003c/p>\n\u003cp>I’ll spoil it for you: everyone does \u003cem>not\u003c/em> live happily ever after.\u003c/p>\n\u003cp>But I’m telling you, the next time \u003cem>The Ring\u003c/em> comes around, you might just see me in lederhosen and a horned helmet, sleeping on the floor between acts, and waiting to be transformed all over again.\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>\u003ci>The third and final cycle of ‘The Ring’ runs June 26–July 1 at the War Memorial Opera House in San Francisco. Tickets are $100–$535 for each part of the cycle, with $10 standing-room tickets available the morning of each performance, in person, cash only, at the box office at 10am. \u003ca href=\"https://sfopera.com/ring/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hindered by Stereotypes, 'Quixote Nuevo' Comes at a Too-Serious Time",
"headTitle": "Hindered by Stereotypes, ‘Quixote Nuevo’ Comes at a Too-Serious Time | KQED",
"content": "\u003cp>Don Quixote is literature’s great character of delusion, a man we know all too well. He’s the ultimate \u003cem>viejo pedorro\u003c/em>: the old man who loves to hear himself talk. In playwright Octavio Solis’s reimagining of Cervantes’s Don Quixote, \u003cem>Quixote Nuevo\u003c/em>—running at Cal Shakes through July 1—the protagonist is a former literary professor living in modern-day south Texas, suffering from dementia, who believes \u003cem>he\u003c/em> is Don Quixote.\u003c/p>\n\u003cp>The promise of \u003cem>Quixote Nuevo\u003c/em> is inspiring, and the play features an all Latinx cast, Latinx director, and an award-winning playwright hoping to breathe new life into a spent story. Yet the play stumbles on its reliance of tired tropes, and instead of shining a light on the complex stories of the people who live on the margins, our characters are more like sitcom renderings of Latinidad than Iñárritu-esque portraits of maligned people.\u003c/p>\n\u003cfigure id=\"attachment_13835445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN_041-800x534.jpg\" alt=\"(l to r) Gianna DiGregorio Rivera (Antonia), Emilio Delgado (Quijano/Quixote), Sol Castillo (Padre Perez), and Sarita Ocón (Dr. Campos) in Octavio Solis’ 'Quixote Nuevo.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l to r) Gianna DiGregorio Rivera (Antonia), Emilio Delgado (Quijano/Quixote), Sol Castillo (Padre Perez), and Sarita Ocón (Dr. Campos) in Octavio Solis’ ‘Quixote Nuevo.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we meet the older Quixote (Emilio Delgado, who was revered for his role as Luis on \u003cem>Sesame Street\u003c/em>), he is remembering a younger version of himself (played by Carlos Aguirre) falling in love with a migrant farmworker on his father’s ranch named Dulcinea (Sarita Ocón). As the play unfolds, we discover that as a young man, he gifted her the only remaining memento of his dead mother he had, a rosary made of bones.\u003c/p>\n\u003cp>Dulcinea returns to Las Cenizas, Mexico, and when she asks her love when they will meet again, Quixote is too afraid to upset his family and leave Texas to come for her. So he keeps an unsent love letter he wrote Dulcinea in his pocket: a talisman of the man he dreamed of being, and never could become. \u003c/p>\n\u003cp>Later, a group of migrant workers is found dead in the desert. One of the bodies is of a young woman, clutching a rosary made of bones. Is the dead woman Dulcinea, or one of the thousands of migrants whose bodies are scattered across the border? Our Quixote is never sure, but the ghost of Dulcinea haunts him, and he spends the rest of the play on a quest to find her.\u003c/p>\n\u003cfigure id=\"attachment_13835446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN_107-800x534.jpg\" alt=\"Emilio Delgado (Quixote) enlists Juan Amador (Sancho Panza) in Octavio Solis’ 'Quixote Nuevo.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emilio Delgado (Quixote) enlists Juan Amador (Sancho Panza) in Octavio Solis’ ‘Quixote Nuevo.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poetic moments like these are glimmers in \u003cem>Quixote Nuevo\u003c/em>. There are entire scenes and actors that delight and deliver, like the role of his “squire” Sancho Panza (Juan Amador). His role is re-envisioned as a street-wise paletero, a Mexican American ice cream man who cracks jokes alongside Quixote. The two get into disastrous trouble as they thwart and attack an immigration officer and take down a border patrol blimp in their quest to avenge injustice. Watching the delusional Quixote throw his sword in the air and destroy the symbol of migrant persecution, the audience can’t help but cheer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But while the play seems to comment on immigration, and abuses by border patrol, \u003cem>Quixote Nuevo\u003c/em> is also weighed down by stereotypes, and archetypal, traditional Latino roles. There’s Magdalena (Apriña Leavy), the mouthy mother of the house and sister of Quixote; there’s also Quixote’s loyal, long-sacrificing \u003cem>sobrina\u003c/em>, Antonia (Gianna DiGregorio Rivera). Is it too much to ask in 2018 that we see women’s roles outside of the nagging mother, “good” daughter, and virgin/whore? Another scene is your standard caricature of bad hombres and loose women in a cantina: men take shots of tequila, women offer up sex for the right price, and both speak in over-the-top, border town accents. The only thing missing is a couple of \u003cem>¡Orale, güeys!\u003c/em> to complete the Mexploitation fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13835420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-800x450.jpg\" alt=\"Amy Lizardo (foreground) and Carlos Aguirre (background right) as calacas in Octavio Solis’ 'Quixote Nuevo' at California Shakespeare Theater.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy Lizardo (foreground) and Carlos Aguirre (background right) as calacas in Octavio Solis’ ‘Quixote Nuevo’ at California Shakespeare Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what sinks parts of \u003cem>Quixote Nuevo\u003c/em> instead of elevating; the feeling that the play is gunning for laughs at the expense of people many Americans already laugh at. Admittedly, the character of Don Quixote is a fool; that is the point. But in a time when the U.S. government separates children from their parents at the Mexican border and places them in cages, depicting Mexican people as hotheaded\u003cbr>\nvigilantes or simple minded souls is reckless.\u003c/p>\n\u003cp>That said, \u003cem>Quixote Nuevo\u003c/em> does have considerable heart and creative bursts. The greatest moments of the play are when you feel that Solis and director KJ Sanchez have tapped into something greater than the story of Don Quixote, and reveal how difficult it is to navigate this modern world with the heart of a poet and the desire to live in the pursuit of a dream.\u003c/p>\n\u003cp>It is this spirit that saves and haunts the play: the idea of what it wants to be; and the reality of what it has become.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Quixote Nuevo’ runs through July 1 at Cal Shakes in Orinda. \u003ca href=\"http://calshakes.org/v4/ourplays/2018/2018_quixote.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "At a time when the U.S. separates families at the border, in trots Cal Shakes' caricature-filled adaptation of 'Don Quixote.' ",
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"description": "At a time when the U.S. separates families at the border, in trots Cal Shakes' caricature-filled adaptation of 'Don Quixote.' ",
"title": "Hindered by Stereotypes, 'Quixote Nuevo' Comes at a Too-Serious Time | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Quixote is literature’s great character of delusion, a man we know all too well. He’s the ultimate \u003cem>viejo pedorro\u003c/em>: the old man who loves to hear himself talk. In playwright Octavio Solis’s reimagining of Cervantes’s Don Quixote, \u003cem>Quixote Nuevo\u003c/em>—running at Cal Shakes through July 1—the protagonist is a former literary professor living in modern-day south Texas, suffering from dementia, who believes \u003cem>he\u003c/em> is Don Quixote.\u003c/p>\n\u003cp>The promise of \u003cem>Quixote Nuevo\u003c/em> is inspiring, and the play features an all Latinx cast, Latinx director, and an award-winning playwright hoping to breathe new life into a spent story. Yet the play stumbles on its reliance of tired tropes, and instead of shining a light on the complex stories of the people who live on the margins, our characters are more like sitcom renderings of Latinidad than Iñárritu-esque portraits of maligned people.\u003c/p>\n\u003cfigure id=\"attachment_13835445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN_041-800x534.jpg\" alt=\"(l to r) Gianna DiGregorio Rivera (Antonia), Emilio Delgado (Quijano/Quixote), Sol Castillo (Padre Perez), and Sarita Ocón (Dr. Campos) in Octavio Solis’ 'Quixote Nuevo.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_041-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l to r) Gianna DiGregorio Rivera (Antonia), Emilio Delgado (Quijano/Quixote), Sol Castillo (Padre Perez), and Sarita Ocón (Dr. Campos) in Octavio Solis’ ‘Quixote Nuevo.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we meet the older Quixote (Emilio Delgado, who was revered for his role as Luis on \u003cem>Sesame Street\u003c/em>), he is remembering a younger version of himself (played by Carlos Aguirre) falling in love with a migrant farmworker on his father’s ranch named Dulcinea (Sarita Ocón). As the play unfolds, we discover that as a young man, he gifted her the only remaining memento of his dead mother he had, a rosary made of bones.\u003c/p>\n\u003cp>Dulcinea returns to Las Cenizas, Mexico, and when she asks her love when they will meet again, Quixote is too afraid to upset his family and leave Texas to come for her. So he keeps an unsent love letter he wrote Dulcinea in his pocket: a talisman of the man he dreamed of being, and never could become. \u003c/p>\n\u003cp>Later, a group of migrant workers is found dead in the desert. One of the bodies is of a young woman, clutching a rosary made of bones. Is the dead woman Dulcinea, or one of the thousands of migrants whose bodies are scattered across the border? Our Quixote is never sure, but the ghost of Dulcinea haunts him, and he spends the rest of the play on a quest to find her.\u003c/p>\n\u003cfigure id=\"attachment_13835446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN_107-800x534.jpg\" alt=\"Emilio Delgado (Quixote) enlists Juan Amador (Sancho Panza) in Octavio Solis’ 'Quixote Nuevo.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN_107-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emilio Delgado (Quixote) enlists Juan Amador (Sancho Panza) in Octavio Solis’ ‘Quixote Nuevo.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poetic moments like these are glimmers in \u003cem>Quixote Nuevo\u003c/em>. There are entire scenes and actors that delight and deliver, like the role of his “squire” Sancho Panza (Juan Amador). His role is re-envisioned as a street-wise paletero, a Mexican American ice cream man who cracks jokes alongside Quixote. The two get into disastrous trouble as they thwart and attack an immigration officer and take down a border patrol blimp in their quest to avenge injustice. Watching the delusional Quixote throw his sword in the air and destroy the symbol of migrant persecution, the audience can’t help but cheer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But while the play seems to comment on immigration, and abuses by border patrol, \u003cem>Quixote Nuevo\u003c/em> is also weighed down by stereotypes, and archetypal, traditional Latino roles. There’s Magdalena (Apriña Leavy), the mouthy mother of the house and sister of Quixote; there’s also Quixote’s loyal, long-sacrificing \u003cem>sobrina\u003c/em>, Antonia (Gianna DiGregorio Rivera). Is it too much to ask in 2018 that we see women’s roles outside of the nagging mother, “good” daughter, and virgin/whore? Another scene is your standard caricature of bad hombres and loose women in a cantina: men take shots of tequila, women offer up sex for the right price, and both speak in over-the-top, border town accents. The only thing missing is a couple of \u003cem>¡Orale, güeys!\u003c/em> to complete the Mexploitation fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13835420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-800x450.jpg\" alt=\"Amy Lizardo (foreground) and Carlos Aguirre (background right) as calacas in Octavio Solis’ 'Quixote Nuevo' at California Shakespeare Theater.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Woman_.MAIN_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy Lizardo (foreground) and Carlos Aguirre (background right) as calacas in Octavio Solis’ ‘Quixote Nuevo’ at California Shakespeare Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what sinks parts of \u003cem>Quixote Nuevo\u003c/em> instead of elevating; the feeling that the play is gunning for laughs at the expense of people many Americans already laugh at. Admittedly, the character of Don Quixote is a fool; that is the point. But in a time when the U.S. government separates children from their parents at the Mexican border and places them in cages, depicting Mexican people as hotheaded\u003cbr>\nvigilantes or simple minded souls is reckless.\u003c/p>\n\u003cp>That said, \u003cem>Quixote Nuevo\u003c/em> does have considerable heart and creative bursts. The greatest moments of the play are when you feel that Solis and director KJ Sanchez have tapped into something greater than the story of Don Quixote, and reveal how difficult it is to navigate this modern world with the heart of a poet and the desire to live in the pursuit of a dream.\u003c/p>\n\u003cp>It is this spirit that saves and haunts the play: the idea of what it wants to be; and the reality of what it has become.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Quixote Nuevo’ runs through July 1 at Cal Shakes in Orinda. \u003ca href=\"http://calshakes.org/v4/ourplays/2018/2018_quixote.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Crash Landing for ACT’s ‘A Walk on the Moon’",
"headTitle": "A Crash Landing for ACT’s ‘A Walk on the Moon’ | KQED",
"content": "\u003cp>It’s the summer of 1969 and everything is on the cusp. Neil Armstrong is about to make one giant leap for mankind. Woodstock is set to define the era. Altamont has yet to end it. The free-love revolution is at its peak, but for the vacationers at Dr. Fogler’s Bungalow Colony in upstate New York, it may as well be 1959.\u003c/p>\n\u003cp>A working-class Catskills resort, Fogler’s hosts a coterie of summer regulars, women and children deposited there for the season while their husbands remain in the city to work, coming up only on the weekends. For the ladies, it’s a breeze: no cooking, no cleaning, no sex.\u003c/p>\n\u003cp>For 14-year-old Alison Kantrowitz, being stuck at an old-fashioned family camp while the rest of the world explodes into newness is unbearable. For her mother Pearl, just a scant 16 years older than Alison, it’s a restless summer of regular duties suddenly dulled by an empty ache that she just can’t define. Over the course of A.C.T.’s world premiere musical, \u003cem>A Walk on the Moon\u003c/em>, the two women will find their lives changed by lust, NASA, cheap blouses, and rock ‘n’ roll.\u003c/p>\n\u003cfigure id=\"attachment_13835359\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681.jpg\" alt=\"(L–R) Bunny (Molly Hager), Rhoda (Monique Hafen), Eleanor (Ariela Morgenstern), and Pearl (Katie Brayben) get together for an afternoon of mah-jongg in the world-premiere musical, 'A Walk on the Moon.' Background: Marty’s mother, Lillian (Kerry O’Malley).\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Bunny (Molly Hager), Rhoda (Monique Hafen), Eleanor (Ariela Morgenstern), and Pearl (Katie Brayben) get together for an afternoon of mah-jongg in the world-premiere musical, ‘A Walk on the Moon.’ Background: Marty’s mother, Lillian (Kerry O’Malley). \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as in 1959, men are the agent of change. Alison (an outstanding Brigid O’Brien) will meet teenaged Ross (Nick Sacks) and begin her journey to womanhood. Pearl (Katie Brayben) will meet Walker Jerome (Zak Resnick), a blouse salesman working to earn enough bread to blow out of the Catskills and into San Francisco, and be forced to reconsider her life.\u003c/p>\n\u003cp>Pearl’s husband Marty (Jonah Platt), a TV repairman overwhelmed at work fixing sets in advance of the televised moon walk, his mother Lillian (Kerry O’Malley), and son Danny (Elijah Cooper the night of review) round out the Kantrowitz’s tiny cabin. Of course there are neighboring families and of course, there is mah-jongg.\u003c/p>\n\u003cfigure id=\"attachment_13835357\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850.jpg\" alt=\"Pearl (Katie Brayben) sings about her youthful dream of being a reporter and wonders why she stopped believing it was possible in the world-premiere musical, 'A Walk on the Moon.'\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13835357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-520x346.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Pearl (Katie Brayben) sings about her youthful dream of being a reporter and wonders why she stopped believing it was possible in the world-premiere musical, ‘A Walk on the Moon.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on screenwriter Pamela Gray’s 1999 movie of the same name, the musical’s book was also written by Gray — which is where the trouble begins. The film and musical follow exactly the same arc, and share much verbatim dialogue. Both are overly long and sentimental; both celebrate constancy and family over impetuousness and change; and both trap their characters in stereotypes of unfulfilled housewife and harried husband. In the film, the clichés are made bearable by the unique sexual tension that Diane Lane and Viggo Mortensen bring to their roles as Pearl and Walker. In the musical, staged nearly 20 years later, the sexual connection is clumsily managed and the clichés feel lazy. Directed by Sheryl Kaller, Resnick embarrassingly paws at and nuzzles Brayben’s breasts and seemingly no one has thought to take a 21st century look at mid-20th century ennui with fresh eyes.\u003c/p>\n\u003cfigure id=\"attachment_13835360\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d.jpg\" alt=\"Alison (Brigid O’Brien) and Ross (Nick Sacks) flirt while discussing their favorite musicians in 'A Walk on the Moon.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Brigid O’Brien) and Ross (Nick Sacks) flirt while discussing their favorite musicians in ‘A Walk on the Moon.’ \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, the ’40s-era swing, ’50s pop songs, and ’60s rock that enlivened the film don’t make the transition to stage. The musical, while featuring some 20 original songs by Paul Scott Goodman, makes nearly no reference to the rock revolution in which it’s set. Rather, \u003cem>Moon\u003c/em> serves up generic Broadway-style music with none of the fun, verve, or imagination that makes big Broadway shows so thrilling. Most cruelly of all, there is nothing to hum. Goodman’s lyrics tend to such empty fodder as “when I was lost and lonely you came into my life and set me free,” and the cringe-inducing “We Made You,” in which shooting stars and semen share metaphor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While lighting designer Robert Wierzel has one moment of gorgeous poetry limming the morning after Pearl and Walker consummate their love, the delights of set and staging are few. While scenic designer Donyale Werle creates clever interior cut-aways of the Kantrowitz’s cabin, the business of the stage with trees and houses and kitchen tables constantly moving—the fake trees occasionally shuddering under the weight of the magic—is distracting to a fault. Most disappointing are costume designer Linda Cho’s actually ugly clothes. This era offers nothing but far-out choices, and Cho dresses Pearl in frumpy garments that do nothing to enhance either Brayben’s natural loveliness or the pleasure of spectacle.\u003c/p>\n\u003cfigure id=\"attachment_13835358\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8.jpg\" alt=\"The guests at the bungalow colony watch the moon landing live on TV in the world-premiere musical, 'A Walk on the Moon.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The guests at the bungalow colony watch the moon landing live on TV in the world-premiere musical, ‘A Walk on the Moon.’ \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps that speaks to \u003cem>A Walk on the Moon\u003c/em>’s biggest fault: It doesn’t delight. It doesn’t even aspire to delight. This is a love story that doesn’t bring a tear to your eye, a musical without a song to remember, and period piece without an original thought about its period.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Walk on the Moon’ runs through July 1 at A.C.T.’s Geary Theater in San Francisco. \u003ca href=\"http://www.act-sf.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Set in the Catskills of 1969, the world-premiere musical fails to move, delight, or even convey a proper nostalgia for the era.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the summer of 1969 and everything is on the cusp. Neil Armstrong is about to make one giant leap for mankind. Woodstock is set to define the era. Altamont has yet to end it. The free-love revolution is at its peak, but for the vacationers at Dr. Fogler’s Bungalow Colony in upstate New York, it may as well be 1959.\u003c/p>\n\u003cp>A working-class Catskills resort, Fogler’s hosts a coterie of summer regulars, women and children deposited there for the season while their husbands remain in the city to work, coming up only on the weekends. For the ladies, it’s a breeze: no cooking, no cleaning, no sex.\u003c/p>\n\u003cp>For 14-year-old Alison Kantrowitz, being stuck at an old-fashioned family camp while the rest of the world explodes into newness is unbearable. For her mother Pearl, just a scant 16 years older than Alison, it’s a restless summer of regular duties suddenly dulled by an empty ache that she just can’t define. Over the course of A.C.T.’s world premiere musical, \u003cem>A Walk on the Moon\u003c/em>, the two women will find their lives changed by lust, NASA, cheap blouses, and rock ‘n’ roll.\u003c/p>\n\u003cfigure id=\"attachment_13835359\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681.jpg\" alt=\"(L–R) Bunny (Molly Hager), Rhoda (Monique Hafen), Eleanor (Ariela Morgenstern), and Pearl (Katie Brayben) get together for an afternoon of mah-jongg in the world-premiere musical, 'A Walk on the Moon.' Background: Marty’s mother, Lillian (Kerry O’Malley).\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/932ee488-0d40-4b32-a658-d0bb6befb681-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Bunny (Molly Hager), Rhoda (Monique Hafen), Eleanor (Ariela Morgenstern), and Pearl (Katie Brayben) get together for an afternoon of mah-jongg in the world-premiere musical, ‘A Walk on the Moon.’ Background: Marty’s mother, Lillian (Kerry O’Malley). \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as in 1959, men are the agent of change. Alison (an outstanding Brigid O’Brien) will meet teenaged Ross (Nick Sacks) and begin her journey to womanhood. Pearl (Katie Brayben) will meet Walker Jerome (Zak Resnick), a blouse salesman working to earn enough bread to blow out of the Catskills and into San Francisco, and be forced to reconsider her life.\u003c/p>\n\u003cp>Pearl’s husband Marty (Jonah Platt), a TV repairman overwhelmed at work fixing sets in advance of the televised moon walk, his mother Lillian (Kerry O’Malley), and son Danny (Elijah Cooper the night of review) round out the Kantrowitz’s tiny cabin. Of course there are neighboring families and of course, there is mah-jongg.\u003c/p>\n\u003cfigure id=\"attachment_13835357\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850.jpg\" alt=\"Pearl (Katie Brayben) sings about her youthful dream of being a reporter and wonders why she stopped believing it was possible in the world-premiere musical, 'A Walk on the Moon.'\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13835357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/b98fc86a-4901-4894-ba29-2314f979a850-520x346.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Pearl (Katie Brayben) sings about her youthful dream of being a reporter and wonders why she stopped believing it was possible in the world-premiere musical, ‘A Walk on the Moon.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on screenwriter Pamela Gray’s 1999 movie of the same name, the musical’s book was also written by Gray — which is where the trouble begins. The film and musical follow exactly the same arc, and share much verbatim dialogue. Both are overly long and sentimental; both celebrate constancy and family over impetuousness and change; and both trap their characters in stereotypes of unfulfilled housewife and harried husband. In the film, the clichés are made bearable by the unique sexual tension that Diane Lane and Viggo Mortensen bring to their roles as Pearl and Walker. In the musical, staged nearly 20 years later, the sexual connection is clumsily managed and the clichés feel lazy. Directed by Sheryl Kaller, Resnick embarrassingly paws at and nuzzles Brayben’s breasts and seemingly no one has thought to take a 21st century look at mid-20th century ennui with fresh eyes.\u003c/p>\n\u003cfigure id=\"attachment_13835360\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d.jpg\" alt=\"Alison (Brigid O’Brien) and Ross (Nick Sacks) flirt while discussing their favorite musicians in 'A Walk on the Moon.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/e809604c-2df0-4fd2-9c40-68c401c4b02d-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Brigid O’Brien) and Ross (Nick Sacks) flirt while discussing their favorite musicians in ‘A Walk on the Moon.’ \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, the ’40s-era swing, ’50s pop songs, and ’60s rock that enlivened the film don’t make the transition to stage. The musical, while featuring some 20 original songs by Paul Scott Goodman, makes nearly no reference to the rock revolution in which it’s set. Rather, \u003cem>Moon\u003c/em> serves up generic Broadway-style music with none of the fun, verve, or imagination that makes big Broadway shows so thrilling. Most cruelly of all, there is nothing to hum. Goodman’s lyrics tend to such empty fodder as “when I was lost and lonely you came into my life and set me free,” and the cringe-inducing “We Made You,” in which shooting stars and semen share metaphor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While lighting designer Robert Wierzel has one moment of gorgeous poetry limming the morning after Pearl and Walker consummate their love, the delights of set and staging are few. While scenic designer Donyale Werle creates clever interior cut-aways of the Kantrowitz’s cabin, the business of the stage with trees and houses and kitchen tables constantly moving—the fake trees occasionally shuddering under the weight of the magic—is distracting to a fault. Most disappointing are costume designer Linda Cho’s actually ugly clothes. This era offers nothing but far-out choices, and Cho dresses Pearl in frumpy garments that do nothing to enhance either Brayben’s natural loveliness or the pleasure of spectacle.\u003c/p>\n\u003cfigure id=\"attachment_13835358\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8.jpg\" alt=\"The guests at the bungalow colony watch the moon landing live on TV in the world-premiere musical, 'A Walk on the Moon.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13835358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/9d094a10-f71a-49cd-a926-c13934edb9b8-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The guests at the bungalow colony watch the moon landing live on TV in the world-premiere musical, ‘A Walk on the Moon.’ \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps that speaks to \u003cem>A Walk on the Moon\u003c/em>’s biggest fault: It doesn’t delight. It doesn’t even aspire to delight. This is a love story that doesn’t bring a tear to your eye, a musical without a song to remember, and period piece without an original thought about its period.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Walk on the Moon’ runs through July 1 at A.C.T.’s Geary Theater in San Francisco. \u003ca href=\"http://www.act-sf.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Composer and playwright Lin-Manuel Miranda begins his search Wednesday for the Puerto Rican cast of his \u003cem>Hamilton\u003c/em> production that will take the stage on the storm-battered island in January 2019.\u003c/p>\n\u003cp>His father, Luis Miranda, Jr., flew to Puerto Rico to help with logistics and tweeted the \u003ca href=\"https://twitter.com/Vegalteno/status/1006123804433829888\">call for actors\u003c/a>: “Seeking men and women, ages 20s-30s, for the non-white characters as written and conceived for the currently running and upcoming Broadway, Chicago and touring productions HAMILTON.”\u003c/p>\n\u003cp>https://twitter.com/Vegalteno/status/1006123804433829888\u003c/p>\n\u003cp>The younger Miranda promised that he will headline the production on the island where his parents were born, even “if I have to play Hamilton with a f—ing flashlight under my face in one hand and a dueling pistol in the other.”\u003c/p>\n\u003cp>Since Hurricane Maria devastated Puerto Rico in late September, the playwright has aimed his star power at helping with recovery. He recorded a single, “Almost Like Praying,” and donated proceeds from the song’s release to the Hispanic Federation’s Unidos disaster relief fund for the island. He also spoke on the steps of the Lincoln Memorial during a November protest against slow hurricane recovery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hundreds of people signed up to audition Wednesday, but some empty slots remain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Candidates gushed their thanks to Miranda in their registration. One woman, Paula Lebrón, wrote: “Not throwing away this shot! So excited for this opportunity!!!” \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=Auditions+Begin+For+%27Hamilton%27+In+Puerto+Rico&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hundreds of people signed up to audition Wednesday, but some empty slots remain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Candidates gushed their thanks to Miranda in their registration. One woman, Paula Lebrón, wrote: “Not throwing away this shot! So excited for this opportunity!!!” \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=Auditions+Begin+For+%27Hamilton%27+In+Puerto+Rico&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Band's Visit' and Harry Potter Win Big at a Quieter Tony Awards",
"headTitle": "‘The Band’s Visit’ and Harry Potter Win Big at a Quieter Tony Awards | KQED",
"content": "\u003cp>The Tony Awards felt a little different this year than they have recently. It was a year without a \u003cem>Hamilton \u003c/em>or a \u003cem>Dear Evan Hansen\u003c/em>; there was no one original, out-of-nowhere show that came into the Tony Awards as a pop phenomenon. In fact, all four of the four nominated musicals were adaptations of existing properties: \u003cem>SpongeBob SquarePants\u003c/em>, Disney’s \u003cem>Frozen\u003c/em> and the non-musical films \u003cem>Mean Girls \u003c/em>and \u003cem>The Band’s Visit\u003c/em>.\u003c/p>\n\u003cp>In fact, it was a relatively quiet but contemplative ceremony on the whole. Hosts Sara Bareilles and Josh Groban were just what this kind of evening needs: They are theater people (well, they are now, having starred respectively in \u003cem>Waitress \u003c/em>and \u003cem>The Great Comet\u003c/em>). They were amiable and game, opening with a funny and chill little pop song about losing at the Tonys (which they both have done). It wasn’t a big blowout welcome like the ones Neil Patrick Harris used to do, but there’s genuinely no point in trying to compete with that. These two are singers, and they leaned into their voices. And they did end with a display of ensemble members from every nominated musical. And if you don’t love the ensembles, you can’t possibly love the Tonys.\u003c/p>\n\u003cp>As for the awards themselves, some things that seemed highly likely panned out, including generous attention for the current revival of Tony Kushner’s \u003cem>Angels in America\u003c/em>. Andrew Garfield won for his lead performance, talking in general terms about the LGBTQ community and the human spirit before saying, “Let’s just bake a cake for everyone who wants a cake to be baked,” which now \u003ca href=\"https://www.npr.org/2018/06/04/605003519/supreme-court-decides-in-favor-of-baker-over-same-sex-couple-in-cake-shop-case\" target=\"_blank\" rel=\"noopener\">qualifies as a political stance\u003c/a>. Nathan Lane won for his featured performance, breaking up as he addressed his husband in the audience and placing the play in the context of a recent effort to take his life in a different direction. \u003cem>Angels \u003c/em>also won best revival of a play, beating out versions of \u003cem>Lobby Hero \u003c/em>and \u003cem>The Iceman Cometh\u003c/em>, among others.\u003c/p>\n\u003cp>One of those others, \u003cem>Three Tall Women\u003c/em>, may not have won for the play itself, but both its lead actress and its featured actress did win. Laurie Metcalf, doubtless having more fun collecting a Tony than she would be having talking about the cancellation of \u003cem>Roseanne\u003c/em>, won in the featured category. And Glenda Jackson, who’s only recently returned from a long break from acting during which she served in the British Parliament (yes, you may insert your exclamation points here if this is new information) won in the lead category.\u003c/p>\n\u003cp>Best play was won by \u003cem>Harry Potter and the Cursed Child\u003c/em> — another piece of intellectual property stretched to make something new — and it grabbed best direction of a play as well. (Director John Tiffany said it was his boyfriend’s birthday and asked everyone to sing “Happy Birthday,” which they did. This was either the most darling or the most mortifying thing you have ever seen, and you should disclose to each other which one you think it is before you marry anyone.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The big winner in musicals was \u003cem>The Band’s Visit\u003c/em>, based on a 2007 film about a group of Egyptian musicians who accidentally end up staying in an Israeli town. It won best musical, and it took three out of the four acting awards: lead actor Tony Shalhoub (who, yes, you may know from \u003cem>Monk \u003c/em>and \u003cem>Wings \u003c/em>and \u003cem>Big Night \u003c/em>and all sorts of things); lead actress Katrina Lenk; and featured actor Ari’el Stachel, who spoke of what it meant to him as a Middle Eastern actor to be playing a Middle Eastern character.\u003c/p>\n\u003cp>Featured actress in a musical was given to Lindsay Mendez for \u003cem>Carousel\u003c/em>, and while she may have been in a different show, she touched on one of the same themes Stachel did, recalling that when she was younger, she was told to change her name to Matthews if she wanted to work.\u003c/p>\n\u003cp>The ceremony producers went well out of their way to include quite a bit of Bruce Springsteen, whose Broadway show received a special award — seemingly for bringing new people into Broadway theaters. On top of that, Springsteen performed a long monologue and a bit of “My Hometown,” as he does in the show. While his piece isn’t a musical in any traditional sense, it seemed to suffer a little from the same thing that usually plagues musicals that try to present themselves on the Tonys broadcast: Out of context, it didn’t really land the way it would in an intimate theater.\u003c/p>\n\u003cp>But again, that’s a common problem in the musicals category. The Tonys broadcast serves as a time to introduce people to shows, but particularly in the case of \u003cem>Mean Girls\u003c/em>, it was hard to believe the relatively lifeless and disjointed presentation we saw was going to entice a lot of people to see it. (Although all hail Tina Fey for introducing it by saying, “All four of tonight’s best musical nominees are based on movies. But only one of these movies paid for my boat.”)\u003c/p>\n\u003cp>The \u003cem>SpongeBob SquarePants \u003c/em>song featured some of the fun work of presenting Squidward with at least some of his multiple legs — plus it featured group tap dancing, which every Tonys broadcast should have — but it seemed not to quite pop off the stage the way they might have hoped. \u003cem>Frozen \u003c/em>was pleasantly Disney, but not much more than that. \u003cem>The Band’s Visit \u003c/em>did by far the best: “Omar Sharif,” a song primarily sung by Lenk as she recalls movies and music she’s loved, conveyed the intimacy of the show and of the relationships between the characters without sagging or feeling underpowered just because it was seen in isolation.\u003c/p>\n\u003cp>The revivals of \u003cem>My Fair Lady \u003c/em>and \u003cem>Carousel \u003c/em>fared fine, with the former highlighting its star, Lauren Ambrose, and then the crowd-pleasing “Get Me To The Church On Time,” and the latter going with the choreography of the lesser-known number “Blow High, Blow Low,” which is about going out on the sea to go whaling, in case you were wondering. The revival of \u003cem>Once On This Island —\u003c/em> which ultimately won the revival category — had better luck with a high-energy performance from Alex Newell. The show may not be as familiar to some audiences as \u003cem>Carousel \u003c/em>or \u003cem>My Fair Lady\u003c/em>, but the number seemed better-suited for the context of the Tony Awards than some.\u003c/p>\n\u003cp>But there was more going on here than awards.\u003c/p>\n\u003cp>It can be awkward when awards shows try to address current events — very awkward, in fact. But as it happened, the Tonys had a natural connection to the shooting at Marjory Stoneman Douglas High School in February. The drama teacher, Melody Herzfeld, won the Excellence in Theatre Education Award — not only for keeping students safe during the initial event, but for encouraging her students to use drama and art and music to express themselves after. And while it would have been lovely to see her speech during the ceremony itself (it happened \u003ca href=\"https://slate.com/culture/2018/06/watch-marjorie-stoneman-douglas-high-school-theater-teacher-melody-herzfelds-full-tony-acceptance-speech.html\" target=\"_blank\" rel=\"noopener\">earlier in the evening\u003c/a>), what did make the prime-time show was her kids — her drama kids — performing “Seasons Of Love” from \u003cem>Rent\u003c/em>. Well, of course they did. It could have been something from \u003cem>Hamilton\u003c/em>, yes. But \u003cem>Rent \u003c/em>is still a touchstone for theater kids.\u003c/p>\n\u003cp>This has always been the secret ingredient of the Tony Awards: They embrace their kids. Not \u003cem>their \u003c/em>kids, not their \u003cem>actual \u003c/em>kids — their communal kids. The theater kids, the drama nerds, the kids who find their tribe in plays and the kids who know they want something special but don’t find that tribe until they make it out of school and get somewhere else. The Tonys telecast always takes the time to speak to those kids, and while it would have been far better if it had been in different circumstances, it seemed appropriate, rather than forced, to let Herzfeld’s students demonstrate some of what she’s done for them under these difficult circumstances.\u003c/p>\n\u003cp>It was a lovely broadcast. It felt calm. It didn’t feel rapturous, like it did when it was full of \u003cem>Hamilton\u003c/em>, and it didn’t feel downright riotous, like it did when \u003ca href=\"https://www.youtube.com/watch?v=qo6lPifGnGA\">Sutton Foster performed\u003c/a> with the cast of \u003cem>Anything Goes\u003c/em>. But it felt charged with the emotion of theater people — talking about welcoming immigrants, talking about supporting people who don’t look like us, talking about supporting kids whose lives are touched by violence. Even Robert De Niro, standing up and twice directing his favorite profanity at the president of the United States, seemed anguished more than petulant.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Theater people have a lot of feelings. On this night, it showed. \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=%27The+Band%27s+Visit%27+And+Harry+Potter+Win+Big+At+A+Quieter+Tony+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Tony Awards felt a little different this year than they have recently. It was a year without a \u003cem>Hamilton \u003c/em>or a \u003cem>Dear Evan Hansen\u003c/em>; there was no one original, out-of-nowhere show that came into the Tony Awards as a pop phenomenon. In fact, all four of the four nominated musicals were adaptations of existing properties: \u003cem>SpongeBob SquarePants\u003c/em>, Disney’s \u003cem>Frozen\u003c/em> and the non-musical films \u003cem>Mean Girls \u003c/em>and \u003cem>The Band’s Visit\u003c/em>.\u003c/p>\n\u003cp>In fact, it was a relatively quiet but contemplative ceremony on the whole. Hosts Sara Bareilles and Josh Groban were just what this kind of evening needs: They are theater people (well, they are now, having starred respectively in \u003cem>Waitress \u003c/em>and \u003cem>The Great Comet\u003c/em>). They were amiable and game, opening with a funny and chill little pop song about losing at the Tonys (which they both have done). It wasn’t a big blowout welcome like the ones Neil Patrick Harris used to do, but there’s genuinely no point in trying to compete with that. These two are singers, and they leaned into their voices. And they did end with a display of ensemble members from every nominated musical. And if you don’t love the ensembles, you can’t possibly love the Tonys.\u003c/p>\n\u003cp>As for the awards themselves, some things that seemed highly likely panned out, including generous attention for the current revival of Tony Kushner’s \u003cem>Angels in America\u003c/em>. Andrew Garfield won for his lead performance, talking in general terms about the LGBTQ community and the human spirit before saying, “Let’s just bake a cake for everyone who wants a cake to be baked,” which now \u003ca href=\"https://www.npr.org/2018/06/04/605003519/supreme-court-decides-in-favor-of-baker-over-same-sex-couple-in-cake-shop-case\" target=\"_blank\" rel=\"noopener\">qualifies as a political stance\u003c/a>. Nathan Lane won for his featured performance, breaking up as he addressed his husband in the audience and placing the play in the context of a recent effort to take his life in a different direction. \u003cem>Angels \u003c/em>also won best revival of a play, beating out versions of \u003cem>Lobby Hero \u003c/em>and \u003cem>The Iceman Cometh\u003c/em>, among others.\u003c/p>\n\u003cp>One of those others, \u003cem>Three Tall Women\u003c/em>, may not have won for the play itself, but both its lead actress and its featured actress did win. Laurie Metcalf, doubtless having more fun collecting a Tony than she would be having talking about the cancellation of \u003cem>Roseanne\u003c/em>, won in the featured category. And Glenda Jackson, who’s only recently returned from a long break from acting during which she served in the British Parliament (yes, you may insert your exclamation points here if this is new information) won in the lead category.\u003c/p>\n\u003cp>Best play was won by \u003cem>Harry Potter and the Cursed Child\u003c/em> — another piece of intellectual property stretched to make something new — and it grabbed best direction of a play as well. (Director John Tiffany said it was his boyfriend’s birthday and asked everyone to sing “Happy Birthday,” which they did. This was either the most darling or the most mortifying thing you have ever seen, and you should disclose to each other which one you think it is before you marry anyone.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The big winner in musicals was \u003cem>The Band’s Visit\u003c/em>, based on a 2007 film about a group of Egyptian musicians who accidentally end up staying in an Israeli town. It won best musical, and it took three out of the four acting awards: lead actor Tony Shalhoub (who, yes, you may know from \u003cem>Monk \u003c/em>and \u003cem>Wings \u003c/em>and \u003cem>Big Night \u003c/em>and all sorts of things); lead actress Katrina Lenk; and featured actor Ari’el Stachel, who spoke of what it meant to him as a Middle Eastern actor to be playing a Middle Eastern character.\u003c/p>\n\u003cp>Featured actress in a musical was given to Lindsay Mendez for \u003cem>Carousel\u003c/em>, and while she may have been in a different show, she touched on one of the same themes Stachel did, recalling that when she was younger, she was told to change her name to Matthews if she wanted to work.\u003c/p>\n\u003cp>The ceremony producers went well out of their way to include quite a bit of Bruce Springsteen, whose Broadway show received a special award — seemingly for bringing new people into Broadway theaters. On top of that, Springsteen performed a long monologue and a bit of “My Hometown,” as he does in the show. While his piece isn’t a musical in any traditional sense, it seemed to suffer a little from the same thing that usually plagues musicals that try to present themselves on the Tonys broadcast: Out of context, it didn’t really land the way it would in an intimate theater.\u003c/p>\n\u003cp>But again, that’s a common problem in the musicals category. The Tonys broadcast serves as a time to introduce people to shows, but particularly in the case of \u003cem>Mean Girls\u003c/em>, it was hard to believe the relatively lifeless and disjointed presentation we saw was going to entice a lot of people to see it. (Although all hail Tina Fey for introducing it by saying, “All four of tonight’s best musical nominees are based on movies. But only one of these movies paid for my boat.”)\u003c/p>\n\u003cp>The \u003cem>SpongeBob SquarePants \u003c/em>song featured some of the fun work of presenting Squidward with at least some of his multiple legs — plus it featured group tap dancing, which every Tonys broadcast should have — but it seemed not to quite pop off the stage the way they might have hoped. \u003cem>Frozen \u003c/em>was pleasantly Disney, but not much more than that. \u003cem>The Band’s Visit \u003c/em>did by far the best: “Omar Sharif,” a song primarily sung by Lenk as she recalls movies and music she’s loved, conveyed the intimacy of the show and of the relationships between the characters without sagging or feeling underpowered just because it was seen in isolation.\u003c/p>\n\u003cp>The revivals of \u003cem>My Fair Lady \u003c/em>and \u003cem>Carousel \u003c/em>fared fine, with the former highlighting its star, Lauren Ambrose, and then the crowd-pleasing “Get Me To The Church On Time,” and the latter going with the choreography of the lesser-known number “Blow High, Blow Low,” which is about going out on the sea to go whaling, in case you were wondering. The revival of \u003cem>Once On This Island —\u003c/em> which ultimately won the revival category — had better luck with a high-energy performance from Alex Newell. The show may not be as familiar to some audiences as \u003cem>Carousel \u003c/em>or \u003cem>My Fair Lady\u003c/em>, but the number seemed better-suited for the context of the Tony Awards than some.\u003c/p>\n\u003cp>But there was more going on here than awards.\u003c/p>\n\u003cp>It can be awkward when awards shows try to address current events — very awkward, in fact. But as it happened, the Tonys had a natural connection to the shooting at Marjory Stoneman Douglas High School in February. The drama teacher, Melody Herzfeld, won the Excellence in Theatre Education Award — not only for keeping students safe during the initial event, but for encouraging her students to use drama and art and music to express themselves after. And while it would have been lovely to see her speech during the ceremony itself (it happened \u003ca href=\"https://slate.com/culture/2018/06/watch-marjorie-stoneman-douglas-high-school-theater-teacher-melody-herzfelds-full-tony-acceptance-speech.html\" target=\"_blank\" rel=\"noopener\">earlier in the evening\u003c/a>), what did make the prime-time show was her kids — her drama kids — performing “Seasons Of Love” from \u003cem>Rent\u003c/em>. Well, of course they did. It could have been something from \u003cem>Hamilton\u003c/em>, yes. But \u003cem>Rent \u003c/em>is still a touchstone for theater kids.\u003c/p>\n\u003cp>This has always been the secret ingredient of the Tony Awards: They embrace their kids. Not \u003cem>their \u003c/em>kids, not their \u003cem>actual \u003c/em>kids — their communal kids. The theater kids, the drama nerds, the kids who find their tribe in plays and the kids who know they want something special but don’t find that tribe until they make it out of school and get somewhere else. The Tonys telecast always takes the time to speak to those kids, and while it would have been far better if it had been in different circumstances, it seemed appropriate, rather than forced, to let Herzfeld’s students demonstrate some of what she’s done for them under these difficult circumstances.\u003c/p>\n\u003cp>It was a lovely broadcast. It felt calm. It didn’t feel rapturous, like it did when it was full of \u003cem>Hamilton\u003c/em>, and it didn’t feel downright riotous, like it did when \u003ca href=\"https://www.youtube.com/watch?v=qo6lPifGnGA\">Sutton Foster performed\u003c/a> with the cast of \u003cem>Anything Goes\u003c/em>. But it felt charged with the emotion of theater people — talking about welcoming immigrants, talking about supporting people who don’t look like us, talking about supporting kids whose lives are touched by violence. Even Robert De Niro, standing up and twice directing his favorite profanity at the president of the United States, seemed anguished more than petulant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Theater people have a lot of feelings. On this night, it showed. \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=%27The+Band%27s+Visit%27+And+Harry+Potter+Win+Big+At+A+Quieter+Tony+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "summer-in-the-north-bay-outdoor-music-free-festivals-and-picturesque-events",
"title": "Summer in the North Bay: Outdoor Music, Free Festivals, and Picturesque Events",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cbr>\nIf there’s one thing the North Bay is good at, it’s free outdoor festivals. A full seven of the below ten suggestions fit that bill, so if you’re packing for a day trip, a lawn chair, blanket and sunscreen will probably come with you. Luckily, the recent fires haven’t put a damper on summertime in Sonoma County, so click through for more details and enjoy a weekend north of the bridge. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13834051\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-800x572.jpg\" alt=\"Crowd during show at Lagunitas Brewery \" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowd during show at Lagunitas Brewery \u003ccite>(Courtesy of Lagunitas Brewery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Live at Lagunitas\u003c/h2>\n\u003cp>June 12 – Oct. 2\u003cbr>\nLagunitas Brewing Co., Petaluma\u003cbr>\n\u003ca href=\"https://lagunitas.com/music-amphitheater\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nSeeing a band who’d normally play the Fillmore in a small, 300-capacity outdoor amphitheater is tempting enough for most music fans. But when the tickets are free? That changes it to “pretty much all music fans,” which is why you’ll want to be quick on the mouse-click if you’re hoping to check out a show at the venerable Petaluma brewery. Tickets are offered three weeks in advance of each show in the season, and this year includes tUnE-yArDs, M. Ward, James McMurtry, Fantastic Negrito and more. The sound is always great and the vibe — well, let’s just say the Lagunitas crew doesn’t limit their mood enhancers to beer.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834054\" class=\"wp-caption alignleft\" style=\"max-width: 354px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg\" alt=\"KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert.\" width=\"354\" height=\"253\" class=\"size-medium wp-image-13834054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-240x172.jpg 240w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003cfigcaption class=\"wp-caption-text\">KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert. \u003ccite>(Courtesy of Krush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Krush Backyard Concerts\u003c/h2>\n\u003cp>May 31 – Sept. 6\u003cbr>\nKRSH Studios, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.krsh.com/2018/04/26/backyard-concerts-2018/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThey just do things differently in Sonoma County. Whereas in San Francisco, radio stations host huge showcases at the Shoreline Amphitheater or the Oracle Arena, Santa Rosa’s popular station The Krush (95.9-FM) host its favorite acts playing in the studio backyard — which is to say, the grassy area behind a cluster of old-time railroad train cars, from which the DJs broadcast. Blankets, babies and beer are are welcome, and this year’s free series includes a blues night with Wee Willie Walker, a reggae night with Sol Horizon, a rockabilly night with Jinx Jones and more. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834061\" class=\"wp-caption alignleft\" style=\"max-width: 672px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza.jpg\" alt=\"Roy Rogers and his band kick off the 2018 season for Tuesdays in the Plaza.\" width=\"672\" height=\"480\" class=\"size-medium wp-image-13834061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-520x371.jpg 520w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003cfigcaption class=\"wp-caption-text\">Roy Rogers and his band kick off the 2018 season for Tuesdays in the Plaza. \u003ccite>(Courtesy of Tuesdays in the Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tuesdays in the Plaza\u003c/h2>\n\u003cp>May 29 – Aug. 28\u003cbr>\nHealdsburg Plaza, Healdsburg\u003cbr>\n\u003ca href=\"https://www.ci.healdsburg.ca.us/335/Summer-Concert-Series\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nI’ll never forget the time Chuck Prophet played on the Healdsburg Plaza and, scanning the crowd full of fine summer dresses and Louboutin heels, referred to the scene as “Beverly Hills-burg.” Indeed, regulars to this free outdoor series set up their tables with wine and cheese, and begin mingling hours before the music begins — so you’ll want to get there early. It pays off in killer music, which this year includes Con Brio, Royal Jelly Jive, Charlie Musselwhite, John Santos and more, all free. And, with wine flowing, people do sometimes jump in the fountain and dance in the water.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834048\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-800x572.jpg\" alt=\"Alec Mapa is the 2018 Grand Marshal for a newly relocated Sonoma County Pride parade.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alec Mapa is the 2018 Grand Marshal for a newly relocated Sonoma County Pride parade. \u003ccite>(Courtesy of Sonoma County Pride )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonoma County Pride Festival\u003c/h2>\n\u003cp>June 2\u003cbr>\nCourthouse Square and surrounding venues, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.sonomacountypride.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nSonoma County’s Pride celebration makes its official move back to Santa Rosa this year, leaving some residents of Guerneville feeling betrayed. After all, it was Guerneville — historically the most gay-friendly city in Sonoma County — who stepped up to host the parade and festivities when a home was needed 10 years ago. But this year’s new location stands to host a larger crowd, who will be treated to grand marshal Alec Mapa, music from Wrabel and Jason Maek & Zaena, a fashion show, a drag afterparty, DJs, a film series, a kid’s zone and more, all within a one-block radius. There’s no way to make up for Guerneville’s inherently wild verve, it’s true, but a bigger celebration will have to suffice. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834055\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-800x522.jpg\" alt=\"Now in its fifth year, 'Broadway Under the Stars' benefits Jack London State Park.\" width=\"800\" height=\"522\" class=\"size-medium wp-image-13834055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-520x339.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now in its fifth year, ‘Broadway Under the Stars’ benefits Jack London State Park. \u003ccite>(Courtesy of 'Broadway Under the Stars' )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Broadway Under the Stars\u003c/h2>\n\u003cp>June 15 – Sept. 9\u003cbr>\nJack London State Park, Glen Ellen\u003cbr>\n\u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe idea here is simple: take a bunch of Broadway professionals from New York, bring them to the Bay Area for the off-season in the summer, throw together revues of best-loved songs from musical theatre, and present them amidst the stone ruins of a former winery in Jack London State Park. The scenery here is picturesque, the performers bring obvious quality, and the productions are consistently entertaining and not afraid to poke fun at the usual stuffy seriousness of the theatre. The topper? Over the past five years, the company has donated over a quarter million dollars to the state park to help keep it running. This one’s a favorite.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834059\" class=\"wp-caption alignleft\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg\" alt=\"Even a babies get into the action at the Railroad Square Musical Festival.\" width=\"720\" height=\"480\" class=\"size-medium wp-image-13834059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Even a babies get into the action at the Railroad Square Musical Festival. \u003ccite>(Courtesy of Railroad Square Musical Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Railroad Square Music Festival\u003c/h2>\n\u003cp>June 10\u003cbr>\nRailroad Square, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.railroadsquaremusicfestival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nOver the years, Railroad Square has played host to Alfred Hitchcock (parts of \u003cem>Shadow of a Doubt\u003c/em> were filmed there), Steve Martin (\u003cem>Cheaper by the Dozen\u003c/em>), Thomas Edison and Henry Ford (visiting by train) and, recently, several outdoor festivals of the steampunk / Burning Man variety. This one’s all over the map, including jazz (Eki Shola), punk (Gender Trash), African (Onye & the Messengers), reggae (Sol Horizon) and country (Frankie Boots). More than 20 acts total fill multiple stages, it’s free, and this year, attendees even have a fresh new transportation option in the form of the SMART Train, which disembarks just steps from the main stage. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834045\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-800x572.jpg\" alt=\"\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Traveling Spectacular’ stage at the Rivertown Revival. \u003ccite>(Courtesy of Traveling Spectacular)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rivertown Revival\u003c/h2>\n\u003cp>July 14\u003cbr>\nSteamer Landing Park, Petaluma\u003cbr>\n\u003ca href=\"http://www.rivertownrevival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe boat races along the Petaluma Slough are just the tip of the daylong fun at this colorful, old-timey free festival. Part steampunk, part country, the day’s activities include live music from local folk and bluegrass bands, plenty of food and drink, public sculpture along the long, winding entrance, the “Traveling Spectacular” stage (pictured) and, if you’re feeling frisky, a hilltop gazebo for impromptu wedding ceremonies. Make sure to get your Instagram photo ops in the giant blue chair or along the old Ghirardelli barn, and yes, root for your favorite decorated boat as it floats in the water below. Take it from us: there’s much shade here, so a parasol or large hat are recommended. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834044\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-800x572.jpg\" alt=\"This year marks your last chance to see Shakespeare in the Cannery.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This year marks your last chance to see Shakespeare in the Cannery. \u003ccite>(Courtesy of Shakespeare in the Cannery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shakespeare in the Cannery\u003c/h2>\n\u003cp>July 13 – Aug. 5\u003cbr>\nHistoric Cannery, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.shakespeareinthecannery.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nOutdoor Shakespeare is a summer tradition all over the world, but Santa Rosa’s version comes with a twist: it’s presented inside the skeleton of the old CalPack Plant No. 5, a large brick warehouse just across from the brand-new SMART Train station. Once a fruit-packing plant that attracted hundreds of Italian immigrants to the west end of the city, the building has of late housed works by the world’s most famous playwright, presented by the nearby Arlene Francis Center. For its fifth and final year, the offerings move up to the modern day with \u003cem>Shakespeare in Love\u003c/em>. Bring your own blanket or lawn chair, some fromage and vino, and bid farewell to the theater in this one-of-a-kind setting.\u003cbr>\n\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834046\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-800x572.jpg\" alt=\"The Howell Mountain Boys perform at Napa's Porchfest.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Howell Mountain Boys perform at Napa’s Porchfest. \u003ccite>(Mitchell Glotzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Porchfest\u003c/h2>\n\u003cp>July 29\u003cbr>\nThroughout Downtown Napa\u003cbr>\n\u003ca href=\"https://napaporchfest.org/attend-napa-porchfest\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe idea is so perfect, it’s surprising no one thought of it sooner. At Porchfest, bands don’t go on tour… the fans do. On bikes, that is. Or skateboards, wagons, Big Wheels, by feet — however one chooses to hop from front porch to front porch, upon which local bands perform at houses all over town. Performers are not confirmed at press time, but it historically includes Napa musicians of mostly acoustic styles, like folk, jazz and country. Napa’s old Victorians provide picturesque backdrops, there’s an element of voyeurism in staring into people’s yards, and you can come and go as you please depending on the band. A fun, free way to see the town.\u003cbr>\n\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13834060\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.HealdsburgJazz.jpg\" alt=\"Zakir Hussain, Charles Lloyd and Eric Harland at the Healdsburg Jazz Festival.\" width=\"300\" height=\"220\" class=\"size-medium wp-image-13834060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.HealdsburgJazz.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.HealdsburgJazz-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.HealdsburgJazz-240x176.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Zakir Hussain, Charles Lloyd and Eric Harland at the Healdsburg Jazz Festival. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Healdsburg Jazz Festival\u003c/h2>\n\u003cp>June 1–10\u003cbr>\nVarious venues in Healdsburg and Santa Rosa\u003cbr>\n\u003ca href=\"http://www.healdsburgjazzfestival.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe Healdsburg Jazz Festival was founded when the small town was better known for farming equipment and dive bars than boutiques and wineries. But now, marking its 20th anniversary, the festival has retained its homegrown feel while still pulling in jazz’s biggest names. This year’s lineup includes concerts by Ravi Coltrane, Charles Lloyd, Dave Holland, Bill Frisell, George Cables, Fred Hersch, and many others. Returning to his hometown is local-boy-makes-good guitar phenomenon Julian Lage, and there’s even a special tribute to festival favorite Geri Allen, who died this past year. Venues include hotel lobbies, schools, old movie theaters and wineries.\n\u003c/p>\u003c/div>\n\n",
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"title": "Summer in the North Bay: Outdoor Music, Free Festivals, and Picturesque Events | KQED",
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"headline": "Summer in the North Bay: Outdoor Music, Free Festivals, and Picturesque Events",
"datePublished": "2018-06-01T12:00:55-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cbr>\nIf there’s one thing the North Bay is good at, it’s free outdoor festivals. A full seven of the below ten suggestions fit that bill, so if you’re packing for a day trip, a lawn chair, blanket and sunscreen will probably come with you. Luckily, the recent fires haven’t put a damper on summertime in Sonoma County, so click through for more details and enjoy a weekend north of the bridge. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13834051\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-800x572.jpg\" alt=\"Crowd during show at Lagunitas Brewery \" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowd during show at Lagunitas Brewery \u003ccite>(Courtesy of Lagunitas Brewery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Live at Lagunitas\u003c/h2>\n\u003cp>June 12 – Oct. 2\u003cbr>\nLagunitas Brewing Co., Petaluma\u003cbr>\n\u003ca href=\"https://lagunitas.com/music-amphitheater\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nSeeing a band who’d normally play the Fillmore in a small, 300-capacity outdoor amphitheater is tempting enough for most music fans. But when the tickets are free? That changes it to “pretty much all music fans,” which is why you’ll want to be quick on the mouse-click if you’re hoping to check out a show at the venerable Petaluma brewery. Tickets are offered three weeks in advance of each show in the season, and this year includes tUnE-yArDs, M. Ward, James McMurtry, Fantastic Negrito and more. The sound is always great and the vibe — well, let’s just say the Lagunitas crew doesn’t limit their mood enhancers to beer.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834054\" class=\"wp-caption alignleft\" style=\"max-width: 354px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg\" alt=\"KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert.\" width=\"354\" height=\"253\" class=\"size-medium wp-image-13834054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-240x172.jpg 240w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003cfigcaption class=\"wp-caption-text\">KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert. \u003ccite>(Courtesy of Krush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Krush Backyard Concerts\u003c/h2>\n\u003cp>May 31 – Sept. 6\u003cbr>\nKRSH Studios, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.krsh.com/2018/04/26/backyard-concerts-2018/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThey just do things differently in Sonoma County. Whereas in San Francisco, radio stations host huge showcases at the Shoreline Amphitheater or the Oracle Arena, Santa Rosa’s popular station The Krush (95.9-FM) host its favorite acts playing in the studio backyard — which is to say, the grassy area behind a cluster of old-time railroad train cars, from which the DJs broadcast. Blankets, babies and beer are are welcome, and this year’s free series includes a blues night with Wee Willie Walker, a reggae night with Sol Horizon, a rockabilly night with Jinx Jones and more. \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\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834061\" class=\"wp-caption alignleft\" style=\"max-width: 672px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza.jpg\" alt=\"Roy Rogers and his band kick off the 2018 season for Tuesdays in the Plaza.\" width=\"672\" height=\"480\" class=\"size-medium wp-image-13834061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-520x371.jpg 520w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003cfigcaption class=\"wp-caption-text\">Roy Rogers and his band kick off the 2018 season for Tuesdays in the Plaza. \u003ccite>(Courtesy of Tuesdays in the Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tuesdays in the Plaza\u003c/h2>\n\u003cp>May 29 – Aug. 28\u003cbr>\nHealdsburg Plaza, Healdsburg\u003cbr>\n\u003ca href=\"https://www.ci.healdsburg.ca.us/335/Summer-Concert-Series\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nI’ll never forget the time Chuck Prophet played on the Healdsburg Plaza and, scanning the crowd full of fine summer dresses and Louboutin heels, referred to the scene as “Beverly Hills-burg.” Indeed, regulars to this free outdoor series set up their tables with wine and cheese, and begin mingling hours before the music begins — so you’ll want to get there early. It pays off in killer music, which this year includes Con Brio, Royal Jelly Jive, Charlie Musselwhite, John Santos and more, all free. And, with wine flowing, people do sometimes jump in the fountain and dance in the water.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834048\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-800x572.jpg\" alt=\"Alec Mapa is the 2018 Grand Marshal for a newly relocated Sonoma County Pride parade.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alec Mapa is the 2018 Grand Marshal for a newly relocated Sonoma County Pride parade. \u003ccite>(Courtesy of Sonoma County Pride )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonoma County Pride Festival\u003c/h2>\n\u003cp>June 2\u003cbr>\nCourthouse Square and surrounding venues, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.sonomacountypride.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nSonoma County’s Pride celebration makes its official move back to Santa Rosa this year, leaving some residents of Guerneville feeling betrayed. After all, it was Guerneville — historically the most gay-friendly city in Sonoma County — who stepped up to host the parade and festivities when a home was needed 10 years ago. But this year’s new location stands to host a larger crowd, who will be treated to grand marshal Alec Mapa, music from Wrabel and Jason Maek & Zaena, a fashion show, a drag afterparty, DJs, a film series, a kid’s zone and more, all within a one-block radius. There’s no way to make up for Guerneville’s inherently wild verve, it’s true, but a bigger celebration will have to suffice. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834055\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-800x522.jpg\" alt=\"Now in its fifth year, 'Broadway Under the Stars' benefits Jack London State Park.\" width=\"800\" height=\"522\" class=\"size-medium wp-image-13834055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-520x339.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now in its fifth year, ‘Broadway Under the Stars’ benefits Jack London State Park. \u003ccite>(Courtesy of 'Broadway Under the Stars' )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Broadway Under the Stars\u003c/h2>\n\u003cp>June 15 – Sept. 9\u003cbr>\nJack London State Park, Glen Ellen\u003cbr>\n\u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe idea here is simple: take a bunch of Broadway professionals from New York, bring them to the Bay Area for the off-season in the summer, throw together revues of best-loved songs from musical theatre, and present them amidst the stone ruins of a former winery in Jack London State Park. The scenery here is picturesque, the performers bring obvious quality, and the productions are consistently entertaining and not afraid to poke fun at the usual stuffy seriousness of the theatre. The topper? Over the past five years, the company has donated over a quarter million dollars to the state park to help keep it running. This one’s a favorite.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834059\" class=\"wp-caption alignleft\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg\" alt=\"Even a babies get into the action at the Railroad Square Musical Festival.\" width=\"720\" height=\"480\" class=\"size-medium wp-image-13834059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Even a babies get into the action at the Railroad Square Musical Festival. \u003ccite>(Courtesy of Railroad Square Musical Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Railroad Square Music Festival\u003c/h2>\n\u003cp>June 10\u003cbr>\nRailroad Square, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.railroadsquaremusicfestival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nOver the years, Railroad Square has played host to Alfred Hitchcock (parts of \u003cem>Shadow of a Doubt\u003c/em> were filmed there), Steve Martin (\u003cem>Cheaper by the Dozen\u003c/em>), Thomas Edison and Henry Ford (visiting by train) and, recently, several outdoor festivals of the steampunk / Burning Man variety. This one’s all over the map, including jazz (Eki Shola), punk (Gender Trash), African (Onye & the Messengers), reggae (Sol Horizon) and country (Frankie Boots). More than 20 acts total fill multiple stages, it’s free, and this year, attendees even have a fresh new transportation option in the form of the SMART Train, which disembarks just steps from the main stage. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834045\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-800x572.jpg\" alt=\"\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Traveling Spectacular’ stage at the Rivertown Revival. \u003ccite>(Courtesy of Traveling Spectacular)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rivertown Revival\u003c/h2>\n\u003cp>July 14\u003cbr>\nSteamer Landing Park, Petaluma\u003cbr>\n\u003ca href=\"http://www.rivertownrevival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe boat races along the Petaluma Slough are just the tip of the daylong fun at this colorful, old-timey free festival. Part steampunk, part country, the day’s activities include live music from local folk and bluegrass bands, plenty of food and drink, public sculpture along the long, winding entrance, the “Traveling Spectacular” stage (pictured) and, if you’re feeling frisky, a hilltop gazebo for impromptu wedding ceremonies. Make sure to get your Instagram photo ops in the giant blue chair or along the old Ghirardelli barn, and yes, root for your favorite decorated boat as it floats in the water below. Take it from us: there’s much shade here, so a parasol or large hat are recommended. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834044\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-800x572.jpg\" alt=\"This year marks your last chance to see Shakespeare in the Cannery.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This year marks your last chance to see Shakespeare in the Cannery. \u003ccite>(Courtesy of Shakespeare in the Cannery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shakespeare in the Cannery\u003c/h2>\n\u003cp>July 13 – Aug. 5\u003cbr>\nHistoric Cannery, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.shakespeareinthecannery.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nOutdoor Shakespeare is a summer tradition all over the world, but Santa Rosa’s version comes with a twist: it’s presented inside the skeleton of the old CalPack Plant No. 5, a large brick warehouse just across from the brand-new SMART Train station. Once a fruit-packing plant that attracted hundreds of Italian immigrants to the west end of the city, the building has of late housed works by the world’s most famous playwright, presented by the nearby Arlene Francis Center. For its fifth and final year, the offerings move up to the modern day with \u003cem>Shakespeare in Love\u003c/em>. Bring your own blanket or lawn chair, some fromage and vino, and bid farewell to the theater in this one-of-a-kind setting.\u003cbr>\n\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834046\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-800x572.jpg\" alt=\"The Howell Mountain Boys perform at Napa's Porchfest.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Howell Mountain Boys perform at Napa’s Porchfest. \u003ccite>(Mitchell Glotzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Porchfest\u003c/h2>\n\u003cp>July 29\u003cbr>\nThroughout Downtown Napa\u003cbr>\n\u003ca href=\"https://napaporchfest.org/attend-napa-porchfest\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe idea is so perfect, it’s surprising no one thought of it sooner. At Porchfest, bands don’t go on tour… the fans do. On bikes, that is. Or skateboards, wagons, Big Wheels, by feet — however one chooses to hop from front porch to front porch, upon which local bands perform at houses all over town. Performers are not confirmed at press time, but it historically includes Napa musicians of mostly acoustic styles, like folk, jazz and country. Napa’s old Victorians provide picturesque backdrops, there’s an element of voyeurism in staring into people’s yards, and you can come and go as you please depending on the band. A fun, free way to see the town.\u003cbr>\n\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Everyone knows about the chaos wrought by the McCarthy era—and that it was an especially damaging period for a lot of artists, screenwriters, and actors. This month, TheatreWorks Silicon Valley presents a play that tells the story of one of these blacklisted actors.\u003c/p>\n\u003cp>\u003cem>FINKS\u003c/em> is about the House un-American Activities Committee, and specifically how it undermined so-called subversion in the arts. It’s based on the true story of the actor Jack Gilford, who was named, blacklisted, and along with his wife, couldn’t get good work for years.\u003c/p>\n\u003cp>Gilford was named, in fact, by Jerome Robbins, the choreographer. So you had artists turning on each other, hence the play’s title, \u003cem>FINKS\u003c/em>. And just like \u003ci>Angels in America\u003c/i>, currently playing at Berkeley Rep, this play re-creates the atmosphere of the Red Scare and gives context to the ratting out that went on.\u003c/p>\n\u003cp>\u003cem>FINKS\u003c/em> is at the Mountain View Center for the Performing Arts in Mountain View, running June 6–July 1. \u003ca href=\"https://theatreworks.org/201718-season/201718-season/finks/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everyone knows about the chaos wrought by the McCarthy era—and that it was an especially damaging period for a lot of artists, screenwriters, and actors. This month, TheatreWorks Silicon Valley presents a play that tells the story of one of these blacklisted actors.\u003c/p>\n\u003cp>\u003cem>FINKS\u003c/em> is about the House un-American Activities Committee, and specifically how it undermined so-called subversion in the arts. It’s based on the true story of the actor Jack Gilford, who was named, blacklisted, and along with his wife, couldn’t get good work for years.\u003c/p>\n\u003cp>Gilford was named, in fact, by Jerome Robbins, the choreographer. So you had artists turning on each other, hence the play’s title, \u003cem>FINKS\u003c/em>. And just like \u003ci>Angels in America\u003c/i>, currently playing at Berkeley Rep, this play re-creates the atmosphere of the Red Scare and gives context to the ratting out that went on.\u003c/p>\n\u003cp>\u003cem>FINKS\u003c/em> is at the Mountain View Center for the Performing Arts in Mountain View, running June 6–July 1. \u003ca href=\"https://theatreworks.org/201718-season/201718-season/finks/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ruby Rae Spiegel’s 'Dry Land' Packs a Punch at Shotgun Players",
"headTitle": "Ruby Rae Spiegel’s ‘Dry Land’ Packs a Punch at Shotgun Players | KQED",
"content": "\u003cp>In 2012, \u003ca href=\"https://newrepublic.com/article/111368/the-rise-diy-abortions\">an article by Ada Calhoun in the New Republic\u003c/a> about DIY abortions, including the use of “abortion pills” purchased online, caught budding playwright Ruby Rae Spiegel’s attention.\u003c/p>\n\u003cp>An undergrad at Yale, she penned her first full-length play \u003cem>Dry Land\u003c/em> using that scenario as the nucleus of a script that also examines the volatility of teenage friendships and the emotional highs and lows of high school ambition. Directed for Shotgun Players in its first Bay Area run by rising star Ariel Craft (who takes over artistic direction of San Francisco’s Cutting Ball Theater in July), \u003cem>Dry Land\u003c/em> both shocks and educates.\u003c/p>\n\u003cp>Set primarily in the sterile confines of a high school locker room (designed by Angrette McCloskey), the play begins on an uncomfortable note with Amy (played by Martha Brigham) demanding that Ester (Grace Ng) punch her in the stomach.\u003c/p>\n\u003cp>“Harder,” she commands, frustrated by Ester’s inability to muster sufficient force. “I’ve never done this before,” Ester retorts in a teenager’s sulk, and you can almost hear the “duh” in her voice as she steels herself to try again. As she gradually acclimates to the task at hand, so too does the audience acclimate to the story being told—no small triumph for a play that puts that still-taboo topic of teenage abortion on full display.\u003c/p>\n\u003cfigure id=\"attachment_13833615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833615\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Dry_Land_109-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy (Martha Brigham) and Ester (Grace Ng) face off in ‘Dry Land.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those adults who may have forgotten (or blocked out the memories of) the heightened, frantic energy that often characterizes teenager-hood, Ng’s awkward, high-strung Ester is a good reminder. Her character, a star on her high school’s varsity swim team, is fast at laps but slow on reading social cues, and desperate to please—both as an athlete and as an accomplice in teammate Amy’s attempt to terminate her accidental pregnancy without adult intervention. Her nervous, gap-filling chatter feels very true-to-life; she wonders out loud what human organs might taste like to zombies, and abruptly confesses that she used to eat Play-Doh.\u003c/p>\n\u003cfigure id=\"attachment_13833613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833613\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Dry_Land_123-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ester (Grace Ng) shares her vulnerable side with Amy (Martha Brigham). \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brigham’s Amy is a little more enigmatic. Supposedly one of the popular girls, she more readily exudes the outsider vibe of a smoking-circle misfit, only fully embracing her top-of-the-pyramid status when her catty foil and best friend Reba (Amy Nowack) is around to posture for. For reasons she can barely articulate to herself, she’s asked Ester to help her in her moment of need rather than Reba, and the two of them spend as much time trying to navigate the new dynamic as they do trying to figure out the best way to induce a miscarriage—including stomach punching and, in a touch of the zeitgeist, Tide pods. Ultimately, it’s Amy’s self-loathing that characterizes her. She jealously covets Ester’s ability to prepare for a future beyond the end of the school year, and deprecates her own attempts at imagining the same.\u003c/p>\n\u003cfigure id=\"attachment_13833614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833614\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Dry_Land_144-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reba (Amy Nowak) and Amy (Martha Brigham) in the locker room of ‘Dry Land.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not every scene lands the appropriate punch. The play takes a bizarre detour for a single scene outside of the locker room where Victor, an overly nebbish-y college kid played by a not-quite-young-enough Adam Magill, belabors a facet of Amy’s character that she’d already revealed herself in a previous scene. And in a later scene, Ester herself spills a secret that seems more like a forced attempt on Spiegel’s part to generate “drama” than to give her character another layer of complexity. On opening night, some of the sound and light cues (designed by Sara Witsch and Cassie Barnes, respectively) felt unsynced, and the brief appearance of the lone adult in the play—the school janitor (Don Wood)—could have done with a little more attention to detail in terms of his inexpert mopping.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By far the most controversial scene of the play is also its most important: a graphic and fearless depiction of Amy’s self-induced abortion, which should probably be required viewing for any lawmaker or voter concerned with the almost continuous encroachment of reproductive rights in the United States. With clinics closing across the country, a proposed federal “gag rule” barring health care providers from recommending abortions, and states such as Iowa passing increasingly restrictive anti-abortion legislation, \u003cem>Dry Land\u003c/em> comes as an important reminder that making abortion harder to access will do nothing to prevent people from making the decision to abort—it will only compromise the safety of those who do.\u003c/p>\n\u003cfigure id=\"attachment_13833616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833616\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Dry_Land_030-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy (Martha Brigham) and Ester (Grace Ng) share a conversation in ‘Dry Land.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Onstage, the result of this decision is bloody, fraught, and determined—and both Brigham and Ng deliver commendable and believable performances without compromising their established dynamics. It may be a harsh truth, and one that not everyone will feel comfortable confronting from the ordinarily “safe” confines of a theater seat. But for those who demand their art to be as unflinching as their reality, \u003cem>Dry Land\u003c/em> has much to offer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dry Land’ runs through June 17 at the Ashby Stage in Berkeley. \u003ca href=\"https://goo.gl/gLchth\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2012, \u003ca href=\"https://newrepublic.com/article/111368/the-rise-diy-abortions\">an article by Ada Calhoun in the New Republic\u003c/a> about DIY abortions, including the use of “abortion pills” purchased online, caught budding playwright Ruby Rae Spiegel’s attention.\u003c/p>\n\u003cp>An undergrad at Yale, she penned her first full-length play \u003cem>Dry Land\u003c/em> using that scenario as the nucleus of a script that also examines the volatility of teenage friendships and the emotional highs and lows of high school ambition. Directed for Shotgun Players in its first Bay Area run by rising star Ariel Craft (who takes over artistic direction of San Francisco’s Cutting Ball Theater in July), \u003cem>Dry Land\u003c/em> both shocks and educates.\u003c/p>\n\u003cp>Set primarily in the sterile confines of a high school locker room (designed by Angrette McCloskey), the play begins on an uncomfortable note with Amy (played by Martha Brigham) demanding that Ester (Grace Ng) punch her in the stomach.\u003c/p>\n\u003cp>“Harder,” she commands, frustrated by Ester’s inability to muster sufficient force. “I’ve never done this before,” Ester retorts in a teenager’s sulk, and you can almost hear the “duh” in her voice as she steels herself to try again. As she gradually acclimates to the task at hand, so too does the audience acclimate to the story being told—no small triumph for a play that puts that still-taboo topic of teenage abortion on full display.\u003c/p>\n\u003cfigure id=\"attachment_13833615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833615\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Dry_Land_109-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_109.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy (Martha Brigham) and Ester (Grace Ng) face off in ‘Dry Land.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those adults who may have forgotten (or blocked out the memories of) the heightened, frantic energy that often characterizes teenager-hood, Ng’s awkward, high-strung Ester is a good reminder. Her character, a star on her high school’s varsity swim team, is fast at laps but slow on reading social cues, and desperate to please—both as an athlete and as an accomplice in teammate Amy’s attempt to terminate her accidental pregnancy without adult intervention. Her nervous, gap-filling chatter feels very true-to-life; she wonders out loud what human organs might taste like to zombies, and abruptly confesses that she used to eat Play-Doh.\u003c/p>\n\u003cfigure id=\"attachment_13833613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833613\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Dry_Land_123-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_123.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ester (Grace Ng) shares her vulnerable side with Amy (Martha Brigham). \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brigham’s Amy is a little more enigmatic. Supposedly one of the popular girls, she more readily exudes the outsider vibe of a smoking-circle misfit, only fully embracing her top-of-the-pyramid status when her catty foil and best friend Reba (Amy Nowack) is around to posture for. For reasons she can barely articulate to herself, she’s asked Ester to help her in her moment of need rather than Reba, and the two of them spend as much time trying to navigate the new dynamic as they do trying to figure out the best way to induce a miscarriage—including stomach punching and, in a touch of the zeitgeist, Tide pods. Ultimately, it’s Amy’s self-loathing that characterizes her. She jealously covets Ester’s ability to prepare for a future beyond the end of the school year, and deprecates her own attempts at imagining the same.\u003c/p>\n\u003cfigure id=\"attachment_13833614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833614\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Dry_Land_144-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_144.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reba (Amy Nowak) and Amy (Martha Brigham) in the locker room of ‘Dry Land.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not every scene lands the appropriate punch. The play takes a bizarre detour for a single scene outside of the locker room where Victor, an overly nebbish-y college kid played by a not-quite-young-enough Adam Magill, belabors a facet of Amy’s character that she’d already revealed herself in a previous scene. And in a later scene, Ester herself spills a secret that seems more like a forced attempt on Spiegel’s part to generate “drama” than to give her character another layer of complexity. On opening night, some of the sound and light cues (designed by Sara Witsch and Cassie Barnes, respectively) felt unsynced, and the brief appearance of the lone adult in the play—the school janitor (Don Wood)—could have done with a little more attention to detail in terms of his inexpert mopping.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By far the most controversial scene of the play is also its most important: a graphic and fearless depiction of Amy’s self-induced abortion, which should probably be required viewing for any lawmaker or voter concerned with the almost continuous encroachment of reproductive rights in the United States. With clinics closing across the country, a proposed federal “gag rule” barring health care providers from recommending abortions, and states such as Iowa passing increasingly restrictive anti-abortion legislation, \u003cem>Dry Land\u003c/em> comes as an important reminder that making abortion harder to access will do nothing to prevent people from making the decision to abort—it will only compromise the safety of those who do.\u003c/p>\n\u003cfigure id=\"attachment_13833616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833616\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Dry_Land_030-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Dry_Land_030-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy (Martha Brigham) and Ester (Grace Ng) share a conversation in ‘Dry Land.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Onstage, the result of this decision is bloody, fraught, and determined—and both Brigham and Ng deliver commendable and believable performances without compromising their established dynamics. It may be a harsh truth, and one that not everyone will feel comfortable confronting from the ordinarily “safe” confines of a theater seat. But for those who demand their art to be as unflinching as their reality, \u003cem>Dry Land\u003c/em> has much to offer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dry Land’ runs through June 17 at the Ashby Stage in Berkeley. \u003ca href=\"https://goo.gl/gLchth\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "our-picks-for-the-san-francisco-international-arts-festival",
"title": "Our Picks for the San Francisco International Arts Festival",
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"content": "\u003cp>Since 2003, the San Francisco International Arts Festival has presented an eclectic array of performance—from circus to cabaret, dance to drag, solo shows to sprawling ensembles.\u003c/p>\n\u003cp>For audiences unfamiliar with performing arts festivals in other counties (including the Canadian Fringe Festival circuit, the Festival d’Avignon, and the largest of them all, the Edinburgh Festival), such an array of possibilities can seem daunting. How to choose between acts of similar merit but completely different mediums performing at the same time?\u003c/p>\n\u003cfigure id=\"attachment_13833125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg\" alt=\"\" width=\"800\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dandelion/Bandelion will perform at SFIAF in “We Are All Dragons in Drag.” \u003ccite>(Hans Holtan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For example, what represents the shrewdest choice for an adventurous festival-goer: the chance to see Bay Area solo storyteller \u003cstrong>Brian Copeland\u003c/strong> in his foray into documentary drama, \u003cem>The Scion\u003c/em>, or \u003cstrong>Baobab\u003c/strong> dance ensemble from Japan, paired with local queer dance company \u003cstrong>STEAMROLLER\u003c/strong>? The answer is twofold: as each act performs multiple dates, there’s ample opportunity to see both—but also, accepting in the moment that there is no wrong choice can be liberating.\u003c/p>\n\u003cp>In truth, successful festival-hopping includes a component of surrender, especially as Fort Mason, where SFIAF now makes its home, is a bit of a trek for downtown city dwellers. “That hill,” observes festival director Andrew Wood, “is a bit of a physical and psychological barrier.”\u003c/p>\n\u003cp>To get the most out of any festival, but particularly one as varied as the SFIAF, making a full day of it is the best approach, with a willingness to take a chance on artists or art forms you may not have previously experienced. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still looking for direction? Here are some of our picks below.\u003c/p>\n\u003ch2>Think Globally\u003c/h2>\n\u003cp>In terms of work that hasn’t been seen before in the Bay Area, the international acts are the festival’s biggest draw, though they typically only make up around 25% of the bill on any given year. This year sees not only the return of circus to SFIAF after an eleven-year hiatus, but one of the featured circus companies, \u003cstrong>Cirquantique\u003c/strong>, hails from Montreal, one of the hottest circus cities in the world. A female-led “burlesque” circus cooperative making their US debut, Cirquantique’s show, \u003cem>Bang Bang\u003c/em>, transports audiences to a prohibition-era bordello, where the working girls rise up against the bootlegging mafia to control their own bodies—and their own destinies.\u003c/p>\n\u003cp>Another highly-anticipated international act is Taiwan’s \u003cstrong>Pao-Chang Tsai\u003c/strong>, whose “overtly queer,” multi-media examination of the consequences of social media and data mining, \u003cem>Solo Date\u003c/em>, is one that Wood has been working to bring to San Francisco since 2016. Confronted with the loss of his longtime lover Alain, Tsai (as Ho-Nien) seeks to recreate him through the advances of artificial intelligence (a scenario somewhat reminiscent of a \u003cem>Black Mirror\u003c/em> episode), with unforeseen consequences. Almost aggressively futuristic, yet emphatically human, Tsai’s piece seems tailor-made for San Francisco—where new tech and old principles so often collide.\u003c/p>\n\u003cfigure id=\"attachment_13832861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1.jpg 1153w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pao-Chang Tsai in Solo Date at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Act Locally\u003c/h2>\n\u003cp>Putting the San Francisco in SFIAF, acts as varied as the aforementioned Brian Copeland and STEAMROLLER Dance Company rub elbows with the likes of experimental performance artist and “sculptural” costumer \u003cstrong>Sha Sha Higby\u003c/strong>, and \u003cstrong>Dandelion/Bandelion\u003c/strong>’s playful, participatory \u003cem>We are All Dragons in Drag\u003c/em>. In keeping with the spirit of the “international” component, however, many of the featured acts also incorporate a strong diasporic identity into their work, such as Los Altos’ \u003cstrong>Samudra Dance Creations\u003c/strong> and \u003cem>The Caged Bird Sings\u003c/em>, which takes Indian classical dance as inspiration and reinterprets it for a modern audience. Likewise, Oakland’s \u003cstrong>De Rompe y Raja Cultural Association\u003c/strong> performs an original Afro-Peruvian musical entitled \u003cem>Cristo Moreno\u003c/em> in tribute to the African influences that helped shape South America tradition, and \u003cstrong>Theatre Flamenco de San Francisco\u003c/strong> invite international performers—from Spain, Mexico, South America, and India—for their newest piece \u003cem>El Cruce de Lenguajes\u003c/em> (\u003cem>The Crossing of Languages\u003c/em>), created especially for the festival.\u003c/p>\n\u003cfigure id=\"attachment_13832879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theatre Flamenco in “El Cruce de Lenguajes,” with artists from Spain, Mexico, India, South America, and the USA. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Down By the Riverside\u003c/h2>\n\u003cp>One of the biggest events for this year’s SFIAF, and one very much rooted in the American experience, is this year’s centerpiece performance, \u003ca href=\"https://www.kqed.org/arts/13832643/jazz-is-protest-music-in-angela-davis-anthony-brown-collaboration\">\u003cem>Down By the Riverside: Requiem for a King\u003c/em>\u003c/a>. A world premiere that interprets Martin Luther King, Jr.’s antiwar “Beyond Vietnam” speech through instrumental jazz, movement, and song, it’s led by composer \u003cstrong>Dr. Anthony Brown and the Asian-American Orchestra\u003c/strong>, and features \u003cstrong>Dr. Angela Davis\u003c/strong>. A companion piece, \u003cem>Go For Broke\u003c/em>, gives recognition to the Nisei veterans and the people forced into Japanese-American internment camps during WWII, featuring former poet laureate of San Francisco, Janice Mirikitani.\u003c/p>\n\u003cfigure id=\"attachment_13832859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg\" alt=\"\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-520x239.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice.jpg 848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Mirikitani, Dr. Angela Davis, and Dr. Anthony Brown to perform centerpiece production at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the challenges of curating and hosting a multi-faceted festival without a single defining factor or performance style, Wood prefers to think of the inability to pigeonhole his festival as its own kind of focus.\u003c/p>\n\u003cp>“There’s a lot of variety here,” he emphasizes, “(of artists) that you may never have seen before, and are not part of any circuit that’s going to come around every couple of years. And that’s what festivals are for…to experience this density, and variety of work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco International Arts Festival runs Thursday, May 24–Sunday, June 3. \u003ca href=\"http://www.sfiaf.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "It's probably best to take a full day to be adventurous about the festival's varied lineup—but here's what's not to miss.",
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"title": "Our Picks for the San Francisco International Arts Festival | KQED",
"description": "It's probably best to take a full day to be adventurous about the festival's varied lineup—but here's what's not to miss.",
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"headline": "Our Picks for the San Francisco International Arts Festival",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 2003, the San Francisco International Arts Festival has presented an eclectic array of performance—from circus to cabaret, dance to drag, solo shows to sprawling ensembles.\u003c/p>\n\u003cp>For audiences unfamiliar with performing arts festivals in other counties (including the Canadian Fringe Festival circuit, the Festival d’Avignon, and the largest of them all, the Edinburgh Festival), such an array of possibilities can seem daunting. How to choose between acts of similar merit but completely different mediums performing at the same time?\u003c/p>\n\u003cfigure id=\"attachment_13833125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg\" alt=\"\" width=\"800\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dandelion/Bandelion will perform at SFIAF in “We Are All Dragons in Drag.” \u003ccite>(Hans Holtan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For example, what represents the shrewdest choice for an adventurous festival-goer: the chance to see Bay Area solo storyteller \u003cstrong>Brian Copeland\u003c/strong> in his foray into documentary drama, \u003cem>The Scion\u003c/em>, or \u003cstrong>Baobab\u003c/strong> dance ensemble from Japan, paired with local queer dance company \u003cstrong>STEAMROLLER\u003c/strong>? The answer is twofold: as each act performs multiple dates, there’s ample opportunity to see both—but also, accepting in the moment that there is no wrong choice can be liberating.\u003c/p>\n\u003cp>In truth, successful festival-hopping includes a component of surrender, especially as Fort Mason, where SFIAF now makes its home, is a bit of a trek for downtown city dwellers. “That hill,” observes festival director Andrew Wood, “is a bit of a physical and psychological barrier.”\u003c/p>\n\u003cp>To get the most out of any festival, but particularly one as varied as the SFIAF, making a full day of it is the best approach, with a willingness to take a chance on artists or art forms you may not have previously experienced. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still looking for direction? Here are some of our picks below.\u003c/p>\n\u003ch2>Think Globally\u003c/h2>\n\u003cp>In terms of work that hasn’t been seen before in the Bay Area, the international acts are the festival’s biggest draw, though they typically only make up around 25% of the bill on any given year. This year sees not only the return of circus to SFIAF after an eleven-year hiatus, but one of the featured circus companies, \u003cstrong>Cirquantique\u003c/strong>, hails from Montreal, one of the hottest circus cities in the world. A female-led “burlesque” circus cooperative making their US debut, Cirquantique’s show, \u003cem>Bang Bang\u003c/em>, transports audiences to a prohibition-era bordello, where the working girls rise up against the bootlegging mafia to control their own bodies—and their own destinies.\u003c/p>\n\u003cp>Another highly-anticipated international act is Taiwan’s \u003cstrong>Pao-Chang Tsai\u003c/strong>, whose “overtly queer,” multi-media examination of the consequences of social media and data mining, \u003cem>Solo Date\u003c/em>, is one that Wood has been working to bring to San Francisco since 2016. Confronted with the loss of his longtime lover Alain, Tsai (as Ho-Nien) seeks to recreate him through the advances of artificial intelligence (a scenario somewhat reminiscent of a \u003cem>Black Mirror\u003c/em> episode), with unforeseen consequences. Almost aggressively futuristic, yet emphatically human, Tsai’s piece seems tailor-made for San Francisco—where new tech and old principles so often collide.\u003c/p>\n\u003cfigure id=\"attachment_13832861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1.jpg 1153w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pao-Chang Tsai in Solo Date at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Act Locally\u003c/h2>\n\u003cp>Putting the San Francisco in SFIAF, acts as varied as the aforementioned Brian Copeland and STEAMROLLER Dance Company rub elbows with the likes of experimental performance artist and “sculptural” costumer \u003cstrong>Sha Sha Higby\u003c/strong>, and \u003cstrong>Dandelion/Bandelion\u003c/strong>’s playful, participatory \u003cem>We are All Dragons in Drag\u003c/em>. In keeping with the spirit of the “international” component, however, many of the featured acts also incorporate a strong diasporic identity into their work, such as Los Altos’ \u003cstrong>Samudra Dance Creations\u003c/strong> and \u003cem>The Caged Bird Sings\u003c/em>, which takes Indian classical dance as inspiration and reinterprets it for a modern audience. Likewise, Oakland’s \u003cstrong>De Rompe y Raja Cultural Association\u003c/strong> performs an original Afro-Peruvian musical entitled \u003cem>Cristo Moreno\u003c/em> in tribute to the African influences that helped shape South America tradition, and \u003cstrong>Theatre Flamenco de San Francisco\u003c/strong> invite international performers—from Spain, Mexico, South America, and India—for their newest piece \u003cem>El Cruce de Lenguajes\u003c/em> (\u003cem>The Crossing of Languages\u003c/em>), created especially for the festival.\u003c/p>\n\u003cfigure id=\"attachment_13832879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theatre Flamenco in “El Cruce de Lenguajes,” with artists from Spain, Mexico, India, South America, and the USA. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Down By the Riverside\u003c/h2>\n\u003cp>One of the biggest events for this year’s SFIAF, and one very much rooted in the American experience, is this year’s centerpiece performance, \u003ca href=\"https://www.kqed.org/arts/13832643/jazz-is-protest-music-in-angela-davis-anthony-brown-collaboration\">\u003cem>Down By the Riverside: Requiem for a King\u003c/em>\u003c/a>. A world premiere that interprets Martin Luther King, Jr.’s antiwar “Beyond Vietnam” speech through instrumental jazz, movement, and song, it’s led by composer \u003cstrong>Dr. Anthony Brown and the Asian-American Orchestra\u003c/strong>, and features \u003cstrong>Dr. Angela Davis\u003c/strong>. A companion piece, \u003cem>Go For Broke\u003c/em>, gives recognition to the Nisei veterans and the people forced into Japanese-American internment camps during WWII, featuring former poet laureate of San Francisco, Janice Mirikitani.\u003c/p>\n\u003cfigure id=\"attachment_13832859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg\" alt=\"\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-520x239.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice.jpg 848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Mirikitani, Dr. Angela Davis, and Dr. Anthony Brown to perform centerpiece production at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the challenges of curating and hosting a multi-faceted festival without a single defining factor or performance style, Wood prefers to think of the inability to pigeonhole his festival as its own kind of focus.\u003c/p>\n\u003cp>“There’s a lot of variety here,” he emphasizes, “(of artists) that you may never have seen before, and are not part of any circuit that’s going to come around every couple of years. And that’s what festivals are for…to experience this density, and variety of work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco International Arts Festival runs Thursday, May 24–Sunday, June 3. \u003ca href=\"http://www.sfiaf.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "infinite-possibilities-8-theater-productions-to-take-in-this-summer",
"title": "Infinite Possibilities: 8 Theater Productions to Take in this Summer",
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"headTitle": "Infinite Possibilities: 8 Theater Productions to Take in this Summer | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Maybe it’s the longer daylight hours, or a trace memory of childhood summers “off,” but whatever the reason, there’s no denying that summertime in the Bay Area is the time to play. And fortunately for those of us whose idea of a good time is a riveting monologue or imaginative mise-en-scène, we can spend both the warmer days outdoors and chillier evenings inside watching some of the best performers the Bay Area has to offer. Here are our top picks for summertime theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832476\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg\" alt=\"Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in 'A Thousand Splendid Suns'\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13832476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in ‘A Thousand Splendid Suns’ \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>A Thousand Splendid Suns\u003c/em>\u003c/h3>\n\u003ch4>July 17–29\u003cbr>\nACT’s Geary Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/suns.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>If you missed Carey Perloff and Ursula Rani Sarma’s smash 2017 adaptation of Khaled Hosseini’s \u003cem>A Thousand Splendid Suns\u003c/em>, fret not. You can make up for it with this resurrection of the show, Perloff’s last hurrah at American Conservatory Theater, where she’s recently stepped down as artistic director after 26 years. Set in Afghanistan, this female-led work offers a look inside a Taliban-run Kabul through the intimate lens of a single household. It’s riveting, essential, transcendent drama, and an appropriate send-off for the woman who first ushered it onto the stage.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832483\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg\" alt=\"FURY Factory\" width=\"800\" height=\"893\" class=\"size-medium wp-image-13832483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1075x1200.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1180x1317.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-375x419.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein.jpg 1352w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FURY Factory \u003ccite>(Bob Epstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>FURY Factory\u003c/h3>\n\u003ch4>July 10–22\u003cbr>\nZ Below, NOHspace, and Joe Goode Annex (San Francisco) and The Flight Deck (Oakland)\u003cbr>\n\u003ca href=\"http://foolsfury.org/fury/furyfactory/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Every other year, experimental theater company fools FURY invites like-minded ensembles from all around the country for a festival of devised and collaborative ensemble work, which they’ve dubbed FURY Factory. Not only does FURY Factory provided opportunities for Bay Area audiences to connect with the work of such nationally-recognized companies as Pig Iron and Teatro Luna, but it ably showcases the wild diversity of Bay Area-based performance ensembles, from dance companies to clowns to the purely uncategorizable. And this year, to ensure that audiences on both sides of the Bay will get a shot at FURY, they’re expanding their programming to include Oakland’s Flight Deck as one of their venues.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832493\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg\" alt=\"Keith Hennessy in 'Crotch'\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-13832493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-798x1200.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy in ‘Crotch’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Crotch\u003c/em>\u003c/h3>\n\u003ch4>June 7–9\u003cbr>\nThe Lab, San Francisco\u003cbr>\n\u003ca href=\"https://www.thelab.org/projects/2018/6/7/keith-hennessy-crotch\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Looking for something out of the box? At The Lab, in the Mission District, San Francisco queer performance artist Keith Hennessy dusts off his Bessie award-winning \u003cem>Crotch\u003c/em> for its 10-year anniversary. A powerful and playful work that uses the German Fluxus artist/activist Joseph Beuys as a muse, and combines raw physicality, installation art, a lecture in art history and community ritual, this rare revival will inspire.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832495\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg\" alt=\"Andrew Chung and Marissa Skudlarek, 2017's Shortlived winners, performing 'All the Worlds Are Stages,' written by Ruben Gijalva & directed by Alejandro Torres. \" width=\"800\" height=\"534\" class=\"size-medium wp-image-13832495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Chung and Marissa Skudlarek, 2017’s Shortlived winners, performing ‘All the Worlds Are Stages,’ written by Ruben Gijalva & directed by Alejandro Torres. \u003ccite>(Daniel Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>PianoFight’s Shortlived VII\u003c/h3>\n\u003ch4>June 14–Aug. 25\u003cbr>\nPianoFight’s Main Stage, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-vii/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Can theater-going be as thrilling as a high-stakes sporting match? The fine folks at PianoFight think so, and they’re willing to put up $5,000 to prove it. Attendees at the seventh annual ShortLived competition Thursday-Saturday, from mid-June to the end of August, will cheer 48 competitors into the final round, where the winning play of the year walks away with a $5,000 cash prize and bragging rights for life.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832504\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg\" alt=\"Marga Gomez, who will star in 'King Of Cuba' \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13832504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez, who will star in ‘King Of Cuba’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>King of Cuba\u003c/em>\u003c/h3>\n\u003ch4>July 21–Aug. 19\u003cbr>\nBerkeley City Club, Berkeley\u003cbr>\n\u003ca href=\"http://centralworks.org/king-of-cuba/#showtab=details\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Ushering its 60th world premiere production into the public eye, 27 year-old Central Works presents an adaptation of Cristina García’s (2003) novel \u003cem>King of Cuba\u003c/em>, as adapted by García herself as part of Central Works’ Writer’s Workshop. A comedic speculation of the fate of an aging Cuban dictator, “El Comandante,” and his nemesis Goyo, who plots against him from Miami, this brash imagining stars Bay Area comedy legend Marga Gomez—and Steve Ortiz as her would-be assassin, with live percussion from Havana-born “bongocero” Carlos Caro.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832507\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AngelsSummer2-800x1200.jpg\" alt=\"Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of 'Angels in America, Part Two: Perestroika.'\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13832507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of ‘Angels in America, Part Two: Perestroika.’ \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Angels in America \u003c/em>\u003c/h3>\n\u003ch4>Through July 22\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>It may have opened in May, but Berkeley Rep’s superlative production of Tony Kushner’s barrier-breaking \u003cem>Angels in America\u003c/em> runs through July 22, making it the summer’s hottest theater pick. Consisting of two epic plays running in repertory, each around three-and-a-half hours long, \u003cem>Angels\u003c/em> is definitely a commitment, but once you start watching, you may never want it to end. In fact, it’s recommended to clear the calendar and see a marathon day of both shows back-to-back (presented mostly on Saturdays). Consider it a mini-vacation to an exotic realm.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832513\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg\" alt=\"Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in 'Seeing Red: A Time-Traveling Musical'\" width=\"800\" height=\"1143\" class=\"size-medium wp-image-13832513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-1020x1457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-840x1200.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-960x1371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-520x743.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in ‘Seeing Red: A Time-Traveling Musical’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>\u003c/h3>\n\u003ch4>Various Locations\u003cbr>\nThrough Sept. 9\u003cbr>\n\u003ca href=\"http://www.sfmt.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>This summer, declare independence from specious “Independence Day” traditions that glorify war toys and frighten your pets. Then spend a leisurely afternoon with the San Francisco Mime Troupe in Dolores Park, where they open their 59th Season with company member Rotimi Agbabiaka’s \u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>. Like Easter Sunday with the Sisters of Perpetual Indulgence, July 4 with the SFMT is an inclusive, surprisingly family-friendly reminder that the Bay Area is not Kansas, and if we wanna celebrate that most bellicose of American holidays with a comic musical about American socialism, then who’s to say we shouldn’t? (Perhaps the NEA, who pulled the Mime Troupe’s funding this season?) This year, it’s up to us to support them.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832540\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg\" alt=\"James Ijames\" width=\"800\" height=\"400\" class=\"size-medium wp-image-13832540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Ijames \u003ccite>(Kim Carson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shotgun Players’ \u003cem>White\u003c/em>\u003c/h3>\n\u003ch4>July 6–Aug. 5\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"https://goo.gl/4shmNu\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>With this West Coast premiere of Pennsylvania-based playwright James Ijames’ provocative comedy about racial identity, cultural appropriation, fine art, and what it means to challenge the gatekeepers, Shotgun Players remains committed to new works with fresh takes on hot topics. In a farce reminiscent of the \u003ca href=\"https://hyperallergic.com/131687/i-amjoe-%20scanlan/\" rel=\"noopener\" target=\"_blank\">Joe Scanlan/Donelle Woolford controversy\u003c/a> at the Whitney Biennial in 2014, \u003cem>White\u003c/em> imagines a scenario in which rising artist Gus (Adam Donovan), a white man, hires Vanessa (Santoya Fields), a black woman, to pretend to be the artist behind his work so he can get into a museum exhibition. What happens next surprises even them, and certainly the audience.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Infinite Possibilities: 8 Theater Productions to Take in this Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Maybe it’s the longer daylight hours, or a trace memory of childhood summers “off,” but whatever the reason, there’s no denying that summertime in the Bay Area is the time to play. And fortunately for those of us whose idea of a good time is a riveting monologue or imaginative mise-en-scène, we can spend both the warmer days outdoors and chillier evenings inside watching some of the best performers the Bay Area has to offer. Here are our top picks for summertime theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832476\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg\" alt=\"Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in 'A Thousand Splendid Suns'\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13832476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in ‘A Thousand Splendid Suns’ \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>A Thousand Splendid Suns\u003c/em>\u003c/h3>\n\u003ch4>July 17–29\u003cbr>\nACT’s Geary Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/suns.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>If you missed Carey Perloff and Ursula Rani Sarma’s smash 2017 adaptation of Khaled Hosseini’s \u003cem>A Thousand Splendid Suns\u003c/em>, fret not. You can make up for it with this resurrection of the show, Perloff’s last hurrah at American Conservatory Theater, where she’s recently stepped down as artistic director after 26 years. Set in Afghanistan, this female-led work offers a look inside a Taliban-run Kabul through the intimate lens of a single household. It’s riveting, essential, transcendent drama, and an appropriate send-off for the woman who first ushered it onto the stage.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832483\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg\" alt=\"FURY Factory\" width=\"800\" height=\"893\" class=\"size-medium wp-image-13832483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1075x1200.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1180x1317.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-375x419.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein.jpg 1352w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FURY Factory \u003ccite>(Bob Epstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>FURY Factory\u003c/h3>\n\u003ch4>July 10–22\u003cbr>\nZ Below, NOHspace, and Joe Goode Annex (San Francisco) and The Flight Deck (Oakland)\u003cbr>\n\u003ca href=\"http://foolsfury.org/fury/furyfactory/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Every other year, experimental theater company fools FURY invites like-minded ensembles from all around the country for a festival of devised and collaborative ensemble work, which they’ve dubbed FURY Factory. Not only does FURY Factory provided opportunities for Bay Area audiences to connect with the work of such nationally-recognized companies as Pig Iron and Teatro Luna, but it ably showcases the wild diversity of Bay Area-based performance ensembles, from dance companies to clowns to the purely uncategorizable. And this year, to ensure that audiences on both sides of the Bay will get a shot at FURY, they’re expanding their programming to include Oakland’s Flight Deck as one of their venues.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832493\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg\" alt=\"Keith Hennessy in 'Crotch'\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-13832493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-798x1200.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy in ‘Crotch’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Crotch\u003c/em>\u003c/h3>\n\u003ch4>June 7–9\u003cbr>\nThe Lab, San Francisco\u003cbr>\n\u003ca href=\"https://www.thelab.org/projects/2018/6/7/keith-hennessy-crotch\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Looking for something out of the box? At The Lab, in the Mission District, San Francisco queer performance artist Keith Hennessy dusts off his Bessie award-winning \u003cem>Crotch\u003c/em> for its 10-year anniversary. A powerful and playful work that uses the German Fluxus artist/activist Joseph Beuys as a muse, and combines raw physicality, installation art, a lecture in art history and community ritual, this rare revival will inspire.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832495\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg\" alt=\"Andrew Chung and Marissa Skudlarek, 2017's Shortlived winners, performing 'All the Worlds Are Stages,' written by Ruben Gijalva & directed by Alejandro Torres. \" width=\"800\" height=\"534\" class=\"size-medium wp-image-13832495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Chung and Marissa Skudlarek, 2017’s Shortlived winners, performing ‘All the Worlds Are Stages,’ written by Ruben Gijalva & directed by Alejandro Torres. \u003ccite>(Daniel Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>PianoFight’s Shortlived VII\u003c/h3>\n\u003ch4>June 14–Aug. 25\u003cbr>\nPianoFight’s Main Stage, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-vii/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Can theater-going be as thrilling as a high-stakes sporting match? The fine folks at PianoFight think so, and they’re willing to put up $5,000 to prove it. Attendees at the seventh annual ShortLived competition Thursday-Saturday, from mid-June to the end of August, will cheer 48 competitors into the final round, where the winning play of the year walks away with a $5,000 cash prize and bragging rights for life.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832504\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg\" alt=\"Marga Gomez, who will star in 'King Of Cuba' \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13832504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez, who will star in ‘King Of Cuba’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>King of Cuba\u003c/em>\u003c/h3>\n\u003ch4>July 21–Aug. 19\u003cbr>\nBerkeley City Club, Berkeley\u003cbr>\n\u003ca href=\"http://centralworks.org/king-of-cuba/#showtab=details\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Ushering its 60th world premiere production into the public eye, 27 year-old Central Works presents an adaptation of Cristina García’s (2003) novel \u003cem>King of Cuba\u003c/em>, as adapted by García herself as part of Central Works’ Writer’s Workshop. A comedic speculation of the fate of an aging Cuban dictator, “El Comandante,” and his nemesis Goyo, who plots against him from Miami, this brash imagining stars Bay Area comedy legend Marga Gomez—and Steve Ortiz as her would-be assassin, with live percussion from Havana-born “bongocero” Carlos Caro.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832507\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AngelsSummer2-800x1200.jpg\" alt=\"Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of 'Angels in America, Part Two: Perestroika.'\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13832507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of ‘Angels in America, Part Two: Perestroika.’ \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Angels in America \u003c/em>\u003c/h3>\n\u003ch4>Through July 22\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>It may have opened in May, but Berkeley Rep’s superlative production of Tony Kushner’s barrier-breaking \u003cem>Angels in America\u003c/em> runs through July 22, making it the summer’s hottest theater pick. Consisting of two epic plays running in repertory, each around three-and-a-half hours long, \u003cem>Angels\u003c/em> is definitely a commitment, but once you start watching, you may never want it to end. In fact, it’s recommended to clear the calendar and see a marathon day of both shows back-to-back (presented mostly on Saturdays). Consider it a mini-vacation to an exotic realm.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832513\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg\" alt=\"Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in 'Seeing Red: A Time-Traveling Musical'\" width=\"800\" height=\"1143\" class=\"size-medium wp-image-13832513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-1020x1457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-840x1200.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-960x1371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-520x743.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in ‘Seeing Red: A Time-Traveling Musical’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>\u003c/h3>\n\u003ch4>Various Locations\u003cbr>\nThrough Sept. 9\u003cbr>\n\u003ca href=\"http://www.sfmt.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>This summer, declare independence from specious “Independence Day” traditions that glorify war toys and frighten your pets. Then spend a leisurely afternoon with the San Francisco Mime Troupe in Dolores Park, where they open their 59th Season with company member Rotimi Agbabiaka’s \u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>. Like Easter Sunday with the Sisters of Perpetual Indulgence, July 4 with the SFMT is an inclusive, surprisingly family-friendly reminder that the Bay Area is not Kansas, and if we wanna celebrate that most bellicose of American holidays with a comic musical about American socialism, then who’s to say we shouldn’t? (Perhaps the NEA, who pulled the Mime Troupe’s funding this season?) This year, it’s up to us to support them.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832540\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg\" alt=\"James Ijames\" width=\"800\" height=\"400\" class=\"size-medium wp-image-13832540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Ijames \u003ccite>(Kim Carson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shotgun Players’ \u003cem>White\u003c/em>\u003c/h3>\n\u003ch4>July 6–Aug. 5\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"https://goo.gl/4shmNu\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>With this West Coast premiere of Pennsylvania-based playwright James Ijames’ provocative comedy about racial identity, cultural appropriation, fine art, and what it means to challenge the gatekeepers, Shotgun Players remains committed to new works with fresh takes on hot topics. In a farce reminiscent of the \u003ca href=\"https://hyperallergic.com/131687/i-amjoe-%20scanlan/\" rel=\"noopener\" target=\"_blank\">Joe Scanlan/Donelle Woolford controversy\u003c/a> at the Whitney Biennial in 2014, \u003cem>White\u003c/em> imagines a scenario in which rising artist Gus (Adam Donovan), a white man, hires Vanessa (Santoya Fields), a black woman, to pretend to be the artist behind his work so he can get into a museum exhibition. What happens next surprises even them, and certainly the audience.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On the Air: Cy, Gabe, and A-lan's Do List Picks for May 11, 2018",
"headTitle": "On the Air: Cy, Gabe, and A-lan’s Do List Picks for May 11, 2018 | KQED",
"content": "\u003cp>I’m joined by two of my favorite co-hosts for this episode of The Do List: KQED Arts’ senior editor Gabe Meline, and Stanford Institute for Diversity in the Arts’ co-chair A-lan Holt. And the biggest reason was so they could hold my hand as I said goodbye to KQED and our listeners.\u003c/p>\n\u003cp>I’m leaving KQED and The Do List for the life of a country bumpkin, in the Sierra Foothills. Emphasis on the bumpkin.\u003c/p>\n\u003cp>It’s been the greatest joy of my life to work here at KQED, and to serve the people, as our late news director Raul Ramirez used to say.\u003c/p>\n\u003cp>The Do List is almost 10 years old, and it’s in good hands with Gabe Meline as our new host, and our new producer, Ashleyanne Krigbaum. They’ll bring fresh energy and voices to the show, while staying true to our mission of helping you, the listener, find great shows and good cheer. We share a love of discovering new talent, and performances that help us understand the world better; that help us be more empathetic; that make us better human beings.\u003c/p>\n\u003cp>Please keep listening and reading. Now here’s our show for this week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 25-May 20: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831746\" target=\"_blank\" rel=\"noopener\">A Suzan-Lori Parks play at the American Conservatory Theater confronts the desperate choices of a slave during the Civil War\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 18:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/topdog/\" target=\"_blank\" rel=\"noopener\">The nomadic Ubuntu Theater presents Suzan-Lori Parks’ Pulitzer Prize-winning \u003cem>Topdog/Underdog\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831765/a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival\" rel=\"noopener\" target=\"_blank\">ODC’s Walking Distance Dance Festival offers an antidote to blandness\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 17 and 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831791/ghost-ensemble-and-the-deep-listening-of-pauline-oliveros\" rel=\"noopener\" target=\"_blank\">Ghost Ensemble makes music for deep, deep listening\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 10-12:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831796/singer-jose-james-channels-bill-withers-on-his-latest-tour\" rel=\"noopener\" target=\"_blank\">José James performs a tribute to the music of the great Bill Withers\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15:\u003c/strong> \u003ca href=\"https://www.cartoonart.org/event/toon-talk-keith-knight-homecoming/\" target=\"_blank\" rel=\"noopener\">Cartoonist Keith Knight delivers a “Toon Talk” at the Cartoon Art Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 13:\u003c/strong> \u003ca href=\"https://www.theindependentsf.com/event/1611925-ezra-furman-san-francisco/\" target=\"_blank\" rel=\"noopener\">On Mother’s Day, Ezra Furman at the Independent in San Francisco, a great songwriter and energetic performer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>May 17:\u003c/strong> \u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">A Conversation about thethe arts and social justice at Stanford’s Cubberley Auditorium with Linda Sarsour\u003c/a>, \u003c/span>\u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Patrisse Cullors\u003c/span>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">Favianna Rodriguez\u003c/span>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cspan style=\"font-weight: 400\">Raquel De Anda\u003c/span>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13831740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg\" alt=\"Stanford's A-lan Holt and KQED's Gabe Meline join Cy Musiker for his final episode as host of The Do List.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13831740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stanford’s A-lan Holt and KQED’s Gabe Meline join Cy Musiker for his final episode as host of The Do List. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-May 20: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831746\" target=\"_blank\" rel=\"noopener\">A Suzan-Lori Parks play at the American Conservatory Theater confronts the desperate choices of a slave during the Civil War\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 18:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/topdog/\" target=\"_blank\" rel=\"noopener\">The nomadic Ubuntu Theater presents Suzan-Lori Parks’ Pulitzer Prize-winning \u003cem>Topdog/Underdog\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831765/a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival\" rel=\"noopener\" target=\"_blank\">ODC’s Walking Distance Dance Festival offers an antidote to blandness\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 17 and 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831791/ghost-ensemble-and-the-deep-listening-of-pauline-oliveros\" rel=\"noopener\" target=\"_blank\">Ghost Ensemble makes music for deep, deep listening\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 10-12:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831796/singer-jose-james-channels-bill-withers-on-his-latest-tour\" rel=\"noopener\" target=\"_blank\">José James performs a tribute to the music of the great Bill Withers\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15:\u003c/strong> \u003ca href=\"https://www.cartoonart.org/event/toon-talk-keith-knight-homecoming/\" target=\"_blank\" rel=\"noopener\">Cartoonist Keith Knight delivers a “Toon Talk” at the Cartoon Art Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 13:\u003c/strong> \u003ca href=\"https://www.theindependentsf.com/event/1611925-ezra-furman-san-francisco/\" target=\"_blank\" rel=\"noopener\">On Mother’s Day, Ezra Furman at the Independent in San Francisco, a great songwriter and energetic performer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>May 17:\u003c/strong> \u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">A Conversation about thethe arts and social justice at Stanford’s Cubberley Auditorium with Linda Sarsour\u003c/a>, \u003c/span>\u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Patrisse Cullors\u003c/span>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">Favianna Rodriguez\u003c/span>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cspan style=\"font-weight: 400\">Raquel De Anda\u003c/span>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13831740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg\" alt=\"Stanford's A-lan Holt and KQED's Gabe Meline join Cy Musiker for his final episode as host of The Do List.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13831740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stanford’s A-lan Holt and KQED’s Gabe Meline join Cy Musiker for his final episode as host of The Do List. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "A Tragic Look at the Confederate South in 'Father Comes Home From the Wars'",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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