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"title": "Talking Tony Kushner's 'Angels in America' at Cafe Flore",
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"content": "\u003cp>Every once in a while a piece of art comes along that not only captures a moment in time, but also manages to speak to the future. In 1991, Tony Kushner’s play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America\" target=\"_blank\" rel=\"noopener\">\u003cem>Angels in America\u003c/em>\u003c/a> about the AIDS crisis did just that.\u003c/p>\n\u003cp>The Pulitzer Prize-winning drama was birthed in San Francisco and KQED’s Brian Watt and Chloe Veltman went along to opening night of a new production of the work at \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. A few days later, they headed to \u003ca href=\"http://flore415.com/\" target=\"_blank\" rel=\"noopener\">Flore\u003c/a> in the Castro, where Kushner penned much of his epic drama, to talk about the experience. (The cafe was known as “Cafe Flore” back when Kushner frequented it.)\u003c/p>\n\u003cp>Their conversation, recorded and edited for KQED Radio, includes thoughts about how the play’s depiction of environmental woes and political braggadocio feel even more relevant today than they did in the early 1990s, and how it’s possible for eight hours of theater to fly by so fast.\u003c/p>\n\u003cp>Click the play button above to hear the discussion, produced by Erika Kelly.\u003c/p>\n\u003cfigure id=\"attachment_13831594\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13831594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg\" alt=\"Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches.\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-520x346.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches. \u003ccite>(Photo: Courtesy of Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Angels in America plays at Berkeley Repertory Theatre through July 22. To find out more about the production, click \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">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>Every once in a while a piece of art comes along that not only captures a moment in time, but also manages to speak to the future. In 1991, Tony Kushner’s play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America\" target=\"_blank\" rel=\"noopener\">\u003cem>Angels in America\u003c/em>\u003c/a> about the AIDS crisis did just that.\u003c/p>\n\u003cp>The Pulitzer Prize-winning drama was birthed in San Francisco and KQED’s Brian Watt and Chloe Veltman went along to opening night of a new production of the work at \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. A few days later, they headed to \u003ca href=\"http://flore415.com/\" target=\"_blank\" rel=\"noopener\">Flore\u003c/a> in the Castro, where Kushner penned much of his epic drama, to talk about the experience. (The cafe was known as “Cafe Flore” back when Kushner frequented it.)\u003c/p>\n\u003cp>Their conversation, recorded and edited for KQED Radio, includes thoughts about how the play’s depiction of environmental woes and political braggadocio feel even more relevant today than they did in the early 1990s, and how it’s possible for eight hours of theater to fly by so fast.\u003c/p>\n\u003cp>Click the play button above to hear the discussion, produced by Erika Kelly.\u003c/p>\n\u003cfigure id=\"attachment_13831594\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13831594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg\" alt=\"Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches.\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AG1_lr-520x346.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Spinella (Roy Cohn) in Berkeley Repertory Theatre’s production of Angels in America, Part One: Millennium Approaches. \u003ccite>(Photo: Courtesy of Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Angels in America plays at Berkeley Repertory Theatre through July 22. To find out more about the production, click \u003ca href=\"http://berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Berkeley Rep’s 'Angels in America' Flies High",
"headTitle": "Berkeley Rep’s ‘Angels in America’ Flies High | KQED",
"content": "\u003cp>Inspired partly by the success of Larry Kramer’s \u003cem>The Normal Heart\u003c/em>, a play steeped in the politics and the personal of the ongoing AIDS crisis, and partly by a dream playwright Tony Kushner once had of a dancer he knew, lying on his sickbed while an angel crashed through his ceiling, \u003cem>Angels in America \u003c/em>has \u003ca href=\"https://www.bloomsbury.com/us/the-world-only-spins-forward-9781635571769/\" rel=\"noopener\" target=\"_blank\">a backstory\u003c/a> as sprawling and epic as the play itself. \u003c/p>\n\u003cp>Actually two plays in repertory — \u003cem>Millenium Approaches\u003c/em> and \u003cem>Perestroika\u003c/em>, each running around three and a half hours — \u003cem>Angels in America\u003c/em> tackles, among other themes, AIDS, progress vs. providence, the fickle twists of love, loyalty, and abandonment, and the spark of the divine that might be found in even the most venal of hosts. For theatergoers, it is high on most bucket lists of “must sees,” and a long-anticipated revival currently at Berkeley Rep, under the direction of longtime Tony Kushner champion Tony Taccone, does not disappoint.\u003c/p>\n\u003cfigure id=\"attachment_13831388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin T. Ismail as Louis and Randy Harrison as Prior in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Kushner’s script is eerily prescient in form as well as content, as scene after scene unfurls in rapid succession, almost as a mini-series, which makes the seven-hour marathon (most Saturdays and assorted other dates, through July 22) feel like that most modern of indulgences, the binge-watch.\u003c/p>\n\u003cp>In terms of dialogue, outside of the fact that Ronald Reagan is frequently name-checked, many of the conversations feel like the ones you’ll overhear today in urban coffee shops across the United States, from real talk about race relations and white privilege to support for Palestinians to a gay man’s questioning whether or not their “girl talk” is an act of misogyny. It speaks strongly to Kushner’s ability to read between the lines of American vernacular history in order to have created this instantly recognizable and resonant world that stands the test of time, angels and all.\u003c/p>\n\u003cfigure id=\"attachment_13831387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danny Binstock as Joe and Bethany Jillard as Harper in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True, it takes the Angel (double-cast with Francesca Faridany and Lisa Ramirez) up until the final moments of \u003cem>Millenium Approaches\u003c/em> to crash through the ceiling of AIDS-stricken Prior Walter (Randy Harrison), a former drag performer and the descendant of a line of prior Prior Walters stretching back to the Bayeux Tapestry. But by that point, references to the divine have already abounded: high-strung housewife Harper (Bethany Jillard) observes that the ozone layer is like a “spherical net” of “guardian angels”; Prior’s lover Louis (Benjamin T. Ismail) asserts that justice is like God, “a confusing vastness”; and closeted Mormon Joe (Danny Binstock) reveals that he frequently fantasizes about wrestling an angel, “a beautiful man,” \u003cem>a la\u003c/em> Jacob in a gay wilderness.\u003c/p>\n\u003cfigure id=\"attachment_13831390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831390\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caldwell Tidicue as Belize and Stephen Spinella as Roy Cohn in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than a flighty metaphor, the Angel (portrayed with sonorous gravity by Francesca Faridany when I saw it) arrives as a representative from a politburo of heavenly hosts, charging Prior with the task of encouraging humanity to put the brakes on, so to speak, and slow their forward motion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You do not advance, you only trample,” she chides, and even Prior has to admit she has a point. But not for nothing has humanity been imbued by the capacity to choose, to move, and to create, and though he must pay a visit to the “Permanent Emergency Council” in heaven to demand they release him from his role as reluctant prophet, he refuses to stand still and accept a destiny thrust upon him.\u003c/p>\n\u003cfigure id=\"attachment_13831389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Permanent Emergency Council” of heaven offers their blessing. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because you can’t divorce the ugly specter of regressive political machinations from the turbulent history of AIDS in America, one of the play’s major characters is Roy Cohn — who, among other dire actions, helped engineer the so-called “Lavender Scare” of the early 1950s, when the State Department and other branches of the federal government were purged of accused homosexuals. Played by Stephen Spinella, who played the role of Prior Walter in \u003cem>Angels’\u003c/em> original Broadway run, Cohn is a gleefully unrepentant bully, incapable of taking his own AIDS diagnosis lying down, even when literally bedridden by it. Strangely, it’s Cohn’s flagrantly immoral compass that sits at the heart of \u003cem>Angels\u003c/em>, a certain kind of old guard being left behind by a progress it can’t begin to comprehend, nor has any interest in trying.\u003c/p>\n\u003cfigure id=\"attachment_13831385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carmen Roman as Ethel Rosenberg pays Stephen Spinella as Roy Cohn a visit. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the solid cast, certain moments stand out more than individual performances, which is as it should be in extravagant ensemble work such as this. The self-medicated Harper wandering through the Antarctica of her mind; the tenderness with which Louis teaches Joe about the sensual possibilities of scent; Caldwell Tidicue (a.k.a. Bob the Drag Queen) as night nurse and “ex-\u003cem>ex\u003c/em>” drag queen Belize, clapping back at both a guilt-riddled but still racist Louis and a disease-riddled but still abusive Cohn; Prior’s occasionally manic determination to unravel the metaphysical implications of the hand he’s been dealt; Carmen Roman as a somewhat dour Ethel Rosenberg, reciting the Kaddish over the man who made sure she’d sat in the electric chair for treason.\u003c/p>\n\u003cp>The scenic design and special effects (by Takeshi Kata and Jeremy Chernick, respectively) meld perfectly with the lighting (Jennifer Schreiver) and projections (Alexander V. Nichols), creating entire city blocks with a few well-placed beams of light, a projected backdrop, and a spare piece or two of furniture. Jake Rodriguez’ sound design keeps the energy in the room aloft, a crucial function.\u003c/p>\n\u003cfigure id=\"attachment_13831398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany as the Angel and Carmen Roman as Hannah Pitt in ‘Angels in America.’ \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although \u003cem>Angels\u003c/em> is too complex and too expansive a play from which to distill a single message, what audiences can expect is an impressive treatise on the implications and consequences of “freedom,” and an exploration of that most daunting expression of it: the human capacity for love. As much of an improbability as the America that inspired it, \u003cem>Angels in America\u003c/em> is a play that succeeds on its own excess.\u003c/p>\n\u003cp>If you were wondering where your next binge-watch might come from, wonder no more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Angels in America’ runs through July 22 at Berkeley Rep. Details \u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "More than a mere theatrical binge-watch, Tony Kushner’s marathon masterpiece keeps its momentum ascendant all the way to the end. ",
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"title": "Berkeley Rep’s 'Angels in America' Flies High | KQED",
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"headline": "Berkeley Rep’s 'Angels in America' Flies High",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspired partly by the success of Larry Kramer’s \u003cem>The Normal Heart\u003c/em>, a play steeped in the politics and the personal of the ongoing AIDS crisis, and partly by a dream playwright Tony Kushner once had of a dancer he knew, lying on his sickbed while an angel crashed through his ceiling, \u003cem>Angels in America \u003c/em>has \u003ca href=\"https://www.bloomsbury.com/us/the-world-only-spins-forward-9781635571769/\" rel=\"noopener\" target=\"_blank\">a backstory\u003c/a> as sprawling and epic as the play itself. \u003c/p>\n\u003cp>Actually two plays in repertory — \u003cem>Millenium Approaches\u003c/em> and \u003cem>Perestroika\u003c/em>, each running around three and a half hours — \u003cem>Angels in America\u003c/em> tackles, among other themes, AIDS, progress vs. providence, the fickle twists of love, loyalty, and abandonment, and the spark of the divine that might be found in even the most venal of hosts. For theatergoers, it is high on most bucket lists of “must sees,” and a long-anticipated revival currently at Berkeley Rep, under the direction of longtime Tony Kushner champion Tony Taccone, does not disappoint.\u003c/p>\n\u003cfigure id=\"attachment_13831388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/BenjaminTIsmail_RandyHarrison.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin T. Ismail as Louis and Randy Harrison as Prior in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Kushner’s script is eerily prescient in form as well as content, as scene after scene unfurls in rapid succession, almost as a mini-series, which makes the seven-hour marathon (most Saturdays and assorted other dates, through July 22) feel like that most modern of indulgences, the binge-watch.\u003c/p>\n\u003cp>In terms of dialogue, outside of the fact that Ronald Reagan is frequently name-checked, many of the conversations feel like the ones you’ll overhear today in urban coffee shops across the United States, from real talk about race relations and white privilege to support for Palestinians to a gay man’s questioning whether or not their “girl talk” is an act of misogyny. It speaks strongly to Kushner’s ability to read between the lines of American vernacular history in order to have created this instantly recognizable and resonant world that stands the test of time, angels and all.\u003c/p>\n\u003cfigure id=\"attachment_13831387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/DannyBinstock_BethanyJillard.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danny Binstock as Joe and Bethany Jillard as Harper in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True, it takes the Angel (double-cast with Francesca Faridany and Lisa Ramirez) up until the final moments of \u003cem>Millenium Approaches\u003c/em> to crash through the ceiling of AIDS-stricken Prior Walter (Randy Harrison), a former drag performer and the descendant of a line of prior Prior Walters stretching back to the Bayeux Tapestry. But by that point, references to the divine have already abounded: high-strung housewife Harper (Bethany Jillard) observes that the ozone layer is like a “spherical net” of “guardian angels”; Prior’s lover Louis (Benjamin T. Ismail) asserts that justice is like God, “a confusing vastness”; and closeted Mormon Joe (Danny Binstock) reveals that he frequently fantasizes about wrestling an angel, “a beautiful man,” \u003cem>a la\u003c/em> Jacob in a gay wilderness.\u003c/p>\n\u003cfigure id=\"attachment_13831390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831390\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CaldwellTidcue_StephenSpinella.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caldwell Tidicue as Belize and Stephen Spinella as Roy Cohn in ‘Angels in America’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than a flighty metaphor, the Angel (portrayed with sonorous gravity by Francesca Faridany when I saw it) arrives as a representative from a politburo of heavenly hosts, charging Prior with the task of encouraging humanity to put the brakes on, so to speak, and slow their forward motion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You do not advance, you only trample,” she chides, and even Prior has to admit she has a point. But not for nothing has humanity been imbued by the capacity to choose, to move, and to create, and though he must pay a visit to the “Permanent Emergency Council” in heaven to demand they release him from his role as reluctant prophet, he refuses to stand still and accept a destiny thrust upon him.\u003c/p>\n\u003cfigure id=\"attachment_13831389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HeavenlyBureaucrats.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Permanent Emergency Council” of heaven offers their blessing. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because you can’t divorce the ugly specter of regressive political machinations from the turbulent history of AIDS in America, one of the play’s major characters is Roy Cohn — who, among other dire actions, helped engineer the so-called “Lavender Scare” of the early 1950s, when the State Department and other branches of the federal government were purged of accused homosexuals. Played by Stephen Spinella, who played the role of Prior Walter in \u003cem>Angels’\u003c/em> original Broadway run, Cohn is a gleefully unrepentant bully, incapable of taking his own AIDS diagnosis lying down, even when literally bedridden by it. Strangely, it’s Cohn’s flagrantly immoral compass that sits at the heart of \u003cem>Angels\u003c/em>, a certain kind of old guard being left behind by a progress it can’t begin to comprehend, nor has any interest in trying.\u003c/p>\n\u003cfigure id=\"attachment_13831385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CarmenRoman_StephenSpinella.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carmen Roman as Ethel Rosenberg pays Stephen Spinella as Roy Cohn a visit. \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the solid cast, certain moments stand out more than individual performances, which is as it should be in extravagant ensemble work such as this. The self-medicated Harper wandering through the Antarctica of her mind; the tenderness with which Louis teaches Joe about the sensual possibilities of scent; Caldwell Tidicue (a.k.a. Bob the Drag Queen) as night nurse and “ex-\u003cem>ex\u003c/em>” drag queen Belize, clapping back at both a guilt-riddled but still racist Louis and a disease-riddled but still abusive Cohn; Prior’s occasionally manic determination to unravel the metaphysical implications of the hand he’s been dealt; Carmen Roman as a somewhat dour Ethel Rosenberg, reciting the Kaddish over the man who made sure she’d sat in the electric chair for treason.\u003c/p>\n\u003cp>The scenic design and special effects (by Takeshi Kata and Jeremy Chernick, respectively) meld perfectly with the lighting (Jennifer Schreiver) and projections (Alexander V. Nichols), creating entire city blocks with a few well-placed beams of light, a projected backdrop, and a spare piece or two of furniture. Jake Rodriguez’ sound design keeps the energy in the room aloft, a crucial function.\u003c/p>\n\u003cfigure id=\"attachment_13831398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FrancescaFaridany_CarmenRoman.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany as the Angel and Carmen Roman as Hannah Pitt in ‘Angels in America.’ \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although \u003cem>Angels\u003c/em> is too complex and too expansive a play from which to distill a single message, what audiences can expect is an impressive treatise on the implications and consequences of “freedom,” and an exploration of that most daunting expression of it: the human capacity for love. As much of an improbability as the America that inspired it, \u003cem>Angels in America\u003c/em> is a play that succeeds on its own excess.\u003c/p>\n\u003cp>If you were wondering where your next binge-watch might come from, wonder no more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Angels in America’ runs through July 22 at Berkeley Rep. Details \u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We had terrible news this week. San Francisco Chronicle Assistant Managing Editor David Wiegand, my founding co-anchor on The Do List, was found dead in his home on Tuesday. He was omnivorous in his approach to the arts, and together we crafted The Do List out of that ideal, embracing everything from classical to rap, from Shakespeare to the weirdest performance piece, from veteran to young talent. David would have wanted the show to go on, and this week’s episode is dedicated to him, and his memory.\u003c/p>\n\u003cp>\u003cstrong>May 16-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830999/a-new-concerto-from-philip-glass-for-the-new-century-chamber-orchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra offers the West Coast debut of Philip Glass’ new piano concerto\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 10-24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831011/caam-fest-mixes-film-music-and-theater-for-its-36th-edition\" target=\"_blank\" rel=\"noopener\">The Center for Asian American Media’s film festival includes a documentary on former San Jose Mayor Norm Mineta.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 9-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830976/a-festival-of-transformative-art-at-ybca\" target=\"_blank\" rel=\"noopener\">The Yerba Buena Center for the Arts Transform Festival asks “where is our public imagination?”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5-7:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830967/khalid-not-so-dumb-not-so-broke\" target=\"_blank\" rel=\"noopener\">Khalid plays the Bay Area, taking a satiric jab at our attitudes toward millennials\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We had terrible news this week. San Francisco Chronicle Assistant Managing Editor David Wiegand, my founding co-anchor on The Do List, was found dead in his home on Tuesday. He was omnivorous in his approach to the arts, and together we crafted The Do List out of that ideal, embracing everything from classical to rap, from Shakespeare to the weirdest performance piece, from veteran to young talent. David would have wanted the show to go on, and this week’s episode is dedicated to him, and his memory.\u003c/p>\n\u003cp>\u003cstrong>May 16-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830999/a-new-concerto-from-philip-glass-for-the-new-century-chamber-orchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra offers the West Coast debut of Philip Glass’ new piano concerto\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 10-24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831011/caam-fest-mixes-film-music-and-theater-for-its-36th-edition\" target=\"_blank\" rel=\"noopener\">The Center for Asian American Media’s film festival includes a documentary on former San Jose Mayor Norm Mineta.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 9-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830976/a-festival-of-transformative-art-at-ybca\" target=\"_blank\" rel=\"noopener\">The Yerba Buena Center for the Arts Transform Festival asks “where is our public imagination?”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5-7:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830967/khalid-not-so-dumb-not-so-broke\" target=\"_blank\" rel=\"noopener\">Khalid plays the Bay Area, taking a satiric jab at our attitudes toward millennials\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "caam-fest-mixes-film-music-and-theater-for-its-36th-edition",
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"content": "\u003cp>CAAMFest, the film festival hosted by the Center for Asian American Media, is broadening its offerings this year beyond films to include music and theater performances.\u003c/p>\n\u003cp>The opening night film is \u003ci>An American Story: Norman Mineta and His Story,\u003c/i> Dianne Fukami’s documentary about former Commerce and Transportation Secretary, Congressman and Mayor of San Jose. He’s a second generation Japanese American who I used to interview a lot; a man who was locked up with his family in an internment camp during World War II, but could also make you believe in the power of government to do good.\u003c/p>\n\u003cfigure id=\"attachment_13831026\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg\" alt=\"Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest \u003ccite>(Courtesy of CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the recent headlines about travel bans and discrimination, Fukami says her film couldn’t come at a better time. \u003c/p>\n\u003cp>“You know, this is a cautionary tale. As a Japanese American, I think we need to be living reminders of what can happen when civil liberties are violated,” Fukami says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cVwjapLBUnE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Asian action film star Pei-Pei Cheng is a featured guest at CAAMFest, and Pinay rapper Ruby Ibarra will get to talk about her directorial debut on the music video for her song \u003cem>Us\u003c/em>, which features a crowd-sourced, all-Pinay cast of 200. The festival will also host the world premiere of \u003cem>Bitter Melon\u003c/em>, a black comedy by H.P. Mendoza (\u003cem>Colma: the Musical\u003c/em>) that’s about homophobia, domestic violence, and toxic masculinity in a Filipino family, and was shot in the Bay Area.\u003c/p>\n\u003cp>There’s also a concert featuring Bay Area acts Lyrics Born and Dengue Fever at the Starline Social Club in Oakland.\u003c/p>\n\u003cp>The festival closes with \u003cem>Aunt Lily’s Flower Book\u003c/em>, a live performance by storyteller Brenda Wong Aoki and her husband Mark Izu, who plays the bass and the sho, a Japanese reed instrument. The play is about the impact on both their family’s of anti-Asian racism. I first did a story on Mark and Brenda more than 30 years ago, and they’re still making wonderful theater.\u003c/p>\n\u003cp>CAAMFest runs May 10 through May 24 at the Castro, the Kabuki, and other theaters around San Francisco. \u003ca href=\"https://caamfest.com/2018/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fr_ZbxE1Q6E\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>CAAMFest, the film festival hosted by the Center for Asian American Media, is broadening its offerings this year beyond films to include music and theater performances.\u003c/p>\n\u003cp>The opening night film is \u003ci>An American Story: Norman Mineta and His Story,\u003c/i> Dianne Fukami’s documentary about former Commerce and Transportation Secretary, Congressman and Mayor of San Jose. He’s a second generation Japanese American who I used to interview a lot; a man who was locked up with his family in an internment camp during World War II, but could also make you believe in the power of government to do good.\u003c/p>\n\u003cfigure id=\"attachment_13831026\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg\" alt=\"Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest \u003ccite>(Courtesy of CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the recent headlines about travel bans and discrimination, Fukami says her film couldn’t come at a better time. \u003c/p>\n\u003cp>“You know, this is a cautionary tale. As a Japanese American, I think we need to be living reminders of what can happen when civil liberties are violated,” Fukami says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cVwjapLBUnE'\n title='//www.youtube.com/embed/cVwjapLBUnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Asian action film star Pei-Pei Cheng is a featured guest at CAAMFest, and Pinay rapper Ruby Ibarra will get to talk about her directorial debut on the music video for her song \u003cem>Us\u003c/em>, which features a crowd-sourced, all-Pinay cast of 200. The festival will also host the world premiere of \u003cem>Bitter Melon\u003c/em>, a black comedy by H.P. Mendoza (\u003cem>Colma: the Musical\u003c/em>) that’s about homophobia, domestic violence, and toxic masculinity in a Filipino family, and was shot in the Bay Area.\u003c/p>\n\u003cp>There’s also a concert featuring Bay Area acts Lyrics Born and Dengue Fever at the Starline Social Club in Oakland.\u003c/p>\n\u003cp>The festival closes with \u003cem>Aunt Lily’s Flower Book\u003c/em>, a live performance by storyteller Brenda Wong Aoki and her husband Mark Izu, who plays the bass and the sho, a Japanese reed instrument. The play is about the impact on both their family’s of anti-Asian racism. I first did a story on Mark and Brenda more than 30 years ago, and they’re still making wonderful theater.\u003c/p>\n\u003cp>CAAMFest runs May 10 through May 24 at the Castro, the Kabuki, and other theaters around San Francisco. \u003ca href=\"https://caamfest.com/2018/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Fr_ZbxE1Q6E'\n title='//www.youtube.com/embed/Fr_ZbxE1Q6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Magic Theatre’s 'Gangster of Love' Tries to Do Too Much",
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"content": "\u003cp>Jessica Hagedorn is a bona fide Filipina-American superstar, having come of age in a San Francisco where poets were prophets, rock stars were seers, and a bohemian counterculture ruled the public discourse.\u003c/p>\n\u003cp>Mentored by Kenneth Rexroth, befriended by Ntozake Shange, and the driving force behind experimental music and poetry ensemble the West Coast Gangster Choir, Hagedorn published her first novel \u003cem>Dogeaters\u003c/em> in 1990. It won the American Book Award in 1990, was first adapted into play form in 1998, and was recently produced in 2016 at Magic Theatre. Her critically acclaimed 1996 novel \u003cem>Gangster of Love\u003c/em>, set in the San Francisco of the ’70s, has inspired numerous Bay Area-based Filipina artists, including theatre-maker Michelle Talgarow and hip-hop MC Krishtine de Leon, a.k.a. \u003ca href=\"http://www.rockyrivera.com/\" rel=\"noopener\" target=\"_blank\">Rocky Rivera\u003c/a>, whose stage name pays tribute to Hagedorn’s feisty heroine.\u003c/p>\n\u003cp>Now, Hagedorn’s post-Summer of Love coming-of-age story is having its own Magic Theatre debut, directed by Loretta Greco, and appropriately starring triple-threat performer/poet/musician Golda Sargento as Rocky Rivera.\u003c/p>\n\u003cp>What with the San Francisco setting, the continued support of Magic Theatre, a solid core of actors (many of whom have cut their teeth at Bindlestiff Studio), a performance incubator dedicated to Filipino-American voices, and a Gerbode-Hewlett playwrights commission, the conditions surrounding this world premiere production couldn’t be more auspicious. So it’s a bit of a letdown to be confronted with a piece that, for all of its pedigree and strength of source material, can’t sustain its own promise.\u003c/p>\n\u003cfigure id=\"attachment_13830162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--800x744.jpeg\" alt=\"\" width=\"800\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley-.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--160x149.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--768x714.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--240x223.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--375x349.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--520x484.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Golda Sargento as Rocky Rivera and Jed Parsario as Voltaire on their first night in San Francisco. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play opens with the teenage Rocky, her older brother Voltaire (Jed Parsario), and her mercurial mother Milagros (Sarah Nina Hayon) sailing into San Francisco on the “Star of the Sea,” following the path of Milagros’ sister Fely (Lisa Hori-Garcia), who’d come over from the Philippines some years before. They settle somewhat reluctantly into the “redlined” Western Addition, where it’s impossible to get a taxi to come and pick you up, and where the two children gradually become exposed to and participants in the San Francisco underground, from poetry readings and political rallies in North Beach, gay clubs in the Castro, and the rock ‘n’ roll remnants of the Haight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the play, Rocky’s willingness to try new things lead her into some very eclectic corners of the city. She’s befriended early on by an older poet, Declan Wolf (Lawrence Radecker), a character clearly based on Hagedorn’s own poetic mentor, ur-bohemian Kenneth Rexroth, and later by the excitable Carabao Kid (Sean San José) at the legendary Kearny Street Workshop, both of whom encourage her artistic development and see her potential. Subsequent friendships give her the opportunity to experiment further—with political consciousness, with sex, with drugs, and finally with rock ‘n’ roll, as she embarks on a musical phase with her own ensemble—The Gangster of Love—encouraged in a dream by the dead Jimi Hendrix (played by a game Lance Gardner in a pair of unimposing angel wings).\u003c/p>\n\u003cfigure id=\"attachment_13830165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Carabao Kid (Sean San Jose) at Kearney Street Workshop. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as the complex narrative unfolds, it becomes more and more difficult to keep track of the arc of the storyline. Characters pop in and out of Rocky’s life on a casual basis, often never to be seen again. A single brief scene introduces her to one of the biggest controversies facing the Filipino-American community of SF in its time, the demolition of the I-Hotel, for which she has no real response (adding to the confusion of its relevance, a timeline in the program erroneously marks the demolition site as where the Transamerica Pyramid was built). A major character goes missing from the play altogether, their disappearance barely remarked upon until the final scene. A single birthday party takes up three times as much stage time as a 10-year career in rock ‘n’ roll.\u003c/p>\n\u003cp>Throwaway references to notorious people and places including the Cockettes, the Zodiac Killer, Hunt’s Donuts and Esta Noche attempt to paint a picture of a particular place and time, but with the contrary effect of coming off as site-specific namedropping without adding real context. It’s hard to see that an audience outside of San Francisco, or one simply not as familiar with its past glory days, would even recognize half the references, let alone understand what mentioning them might be trying to convey.\u003c/p>\n\u003cfigure id=\"attachment_13830164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera (Golda Sargento) performs with the Gangster of Love. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Overall, despite some strong performances — particularly from Sean San José as Rocky’s flamboyantly gay uncle Marlon, Dezi Soléy as her free-spirited friend Keiko, and Lawrence Radecker as a slew of mostly superfluous but well-acted roles — \u003cem>Gangster of Love\u003c/em> suffers from what might be termed Adaptation FOMO. Reluctant to let go of the many characters who make the novel such a rich stew, this play simply cannot forge its own throughline. We get backstories of bankers and booksellers, and an amusing detour into Rocky’s first LSD experience, but we rarely get to discover how she really feels about any of it. And, clocking in at almost three hours, this erratically-paced show is simply too much commitment for the otherwise noncommittal.\u003c/p>\n\u003cp>On the other hand, three hours is the perfect amount of time to spend reading a new book. Do yourself and Rocky Rivera a favor, and make time to experience \u003cem>Gangster of Love\u003c/em> in novel form instead.\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>‘Gangster of Love’ runs through May 6 at Magic Theatre in San Francisco. \u003ca href=\"http://magictheatre.org/season/the-gangster-of-love\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "On paper, this adaptation of Jessica Hagedorn’s San Francisco-centric novel has the makings of a success, but it's cluttered and unfocused.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jessica Hagedorn is a bona fide Filipina-American superstar, having come of age in a San Francisco where poets were prophets, rock stars were seers, and a bohemian counterculture ruled the public discourse.\u003c/p>\n\u003cp>Mentored by Kenneth Rexroth, befriended by Ntozake Shange, and the driving force behind experimental music and poetry ensemble the West Coast Gangster Choir, Hagedorn published her first novel \u003cem>Dogeaters\u003c/em> in 1990. It won the American Book Award in 1990, was first adapted into play form in 1998, and was recently produced in 2016 at Magic Theatre. Her critically acclaimed 1996 novel \u003cem>Gangster of Love\u003c/em>, set in the San Francisco of the ’70s, has inspired numerous Bay Area-based Filipina artists, including theatre-maker Michelle Talgarow and hip-hop MC Krishtine de Leon, a.k.a. \u003ca href=\"http://www.rockyrivera.com/\" rel=\"noopener\" target=\"_blank\">Rocky Rivera\u003c/a>, whose stage name pays tribute to Hagedorn’s feisty heroine.\u003c/p>\n\u003cp>Now, Hagedorn’s post-Summer of Love coming-of-age story is having its own Magic Theatre debut, directed by Loretta Greco, and appropriately starring triple-threat performer/poet/musician Golda Sargento as Rocky Rivera.\u003c/p>\n\u003cp>What with the San Francisco setting, the continued support of Magic Theatre, a solid core of actors (many of whom have cut their teeth at Bindlestiff Studio), a performance incubator dedicated to Filipino-American voices, and a Gerbode-Hewlett playwrights commission, the conditions surrounding this world premiere production couldn’t be more auspicious. So it’s a bit of a letdown to be confronted with a piece that, for all of its pedigree and strength of source material, can’t sustain its own promise.\u003c/p>\n\u003cfigure id=\"attachment_13830162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--800x744.jpeg\" alt=\"\" width=\"800\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley-.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--160x149.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--768x714.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--240x223.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--375x349.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Golda-Sargento-as-Rocky-and-Jed-Parsario-as-Voltaire.-Photo-by-Jennifer-Reiley--520x484.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Golda Sargento as Rocky Rivera and Jed Parsario as Voltaire on their first night in San Francisco. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play opens with the teenage Rocky, her older brother Voltaire (Jed Parsario), and her mercurial mother Milagros (Sarah Nina Hayon) sailing into San Francisco on the “Star of the Sea,” following the path of Milagros’ sister Fely (Lisa Hori-Garcia), who’d come over from the Philippines some years before. They settle somewhat reluctantly into the “redlined” Western Addition, where it’s impossible to get a taxi to come and pick you up, and where the two children gradually become exposed to and participants in the San Francisco underground, from poetry readings and political rallies in North Beach, gay clubs in the Castro, and the rock ‘n’ roll remnants of the Haight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the play, Rocky’s willingness to try new things lead her into some very eclectic corners of the city. She’s befriended early on by an older poet, Declan Wolf (Lawrence Radecker), a character clearly based on Hagedorn’s own poetic mentor, ur-bohemian Kenneth Rexroth, and later by the excitable Carabao Kid (Sean San José) at the legendary Kearny Street Workshop, both of whom encourage her artistic development and see her potential. Subsequent friendships give her the opportunity to experiment further—with political consciousness, with sex, with drugs, and finally with rock ‘n’ roll, as she embarks on a musical phase with her own ensemble—The Gangster of Love—encouraged in a dream by the dead Jimi Hendrix (played by a game Lance Gardner in a pair of unimposing angel wings).\u003c/p>\n\u003cfigure id=\"attachment_13830165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Sean-San-Jose-as-Carabao-Kid.-Photo-by-Jennifer-Reiley-copy-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Carabao Kid (Sean San Jose) at Kearney Street Workshop. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as the complex narrative unfolds, it becomes more and more difficult to keep track of the arc of the storyline. Characters pop in and out of Rocky’s life on a casual basis, often never to be seen again. A single brief scene introduces her to one of the biggest controversies facing the Filipino-American community of SF in its time, the demolition of the I-Hotel, for which she has no real response (adding to the confusion of its relevance, a timeline in the program erroneously marks the demolition site as where the Transamerica Pyramid was built). A major character goes missing from the play altogether, their disappearance barely remarked upon until the final scene. A single birthday party takes up three times as much stage time as a 10-year career in rock ‘n’ roll.\u003c/p>\n\u003cp>Throwaway references to notorious people and places including the Cockettes, the Zodiac Killer, Hunt’s Donuts and Esta Noche attempt to paint a picture of a particular place and time, but with the contrary effect of coming off as site-specific namedropping without adding real context. It’s hard to see that an audience outside of San Francisco, or one simply not as familiar with its past glory days, would even recognize half the references, let alone understand what mentioning them might be trying to convey.\u003c/p>\n\u003cfigure id=\"attachment_13830164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830164\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Lance-Gardner-as-Bugsy-Golda-Sargento-as-Rocky-Patrick-Alparone-as-Elvis.-Photo-by-Jennifer-Reiley-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera (Golda Sargento) performs with the Gangster of Love. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Overall, despite some strong performances — particularly from Sean San José as Rocky’s flamboyantly gay uncle Marlon, Dezi Soléy as her free-spirited friend Keiko, and Lawrence Radecker as a slew of mostly superfluous but well-acted roles — \u003cem>Gangster of Love\u003c/em> suffers from what might be termed Adaptation FOMO. Reluctant to let go of the many characters who make the novel such a rich stew, this play simply cannot forge its own throughline. We get backstories of bankers and booksellers, and an amusing detour into Rocky’s first LSD experience, but we rarely get to discover how she really feels about any of it. And, clocking in at almost three hours, this erratically-paced show is simply too much commitment for the otherwise noncommittal.\u003c/p>\n\u003cp>On the other hand, three hours is the perfect amount of time to spend reading a new book. Do yourself and Rocky Rivera a favor, and make time to experience \u003cem>Gangster of Love\u003c/em> in novel form instead.\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>‘Gangster of Love’ runs through May 6 at Magic Theatre in San Francisco. \u003ca href=\"http://magictheatre.org/season/the-gangster-of-love\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On The Do List this week, we’re welcoming the return to the Bay Area of Tony Kushner’s mind-bogglingly brilliant play \u003cem>Angels in America, \u003c/em>plus an art exhibition in San Jose on the meaning of the house, and two nights with Meshell Ndgeocello, my co-host, KQED Youth Media Manager Ariana Proehl’s favorite artist. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>May 3-4:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829821/meshell-ndegeocello-finds-healing-in-her-favorite-songs\" target=\"_blank\" rel=\"noopener\">Meshell Ndgeocello finds healing in song with shows at the Freight and Salvage, and we all feel better\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20-Aug. 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13829836/the-meaning-of-the-elusive-single-family-home-at-the-san-jose-museum-of-art\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Art presents an exhibition examining the meaning of the single family home\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20, 21 and 27:\u003c/strong> \u003ca href=\"http://poormanswhiskey.com/\" target=\"_blank\" rel=\"noopener\">Bay Area country band Poor Man’s Whiskey celebrates a new album with shows at Hopmonk in Sebastopol and The Great American Music Hall, and join an all star lineup for a North Bay fires fundraiser\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 17-July 22:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">Tony Kushner’s play Angels in America returns to the Bay Area, where it was born.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829749/a-young-jorja-smith-poised-for-stardom\" target=\"_blank\" rel=\"noopener\">Reveling in the slow jams of young British singer Jorja Smith\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13829757&action=edit\" target=\"_blank\" rel=\"noopener\">Young artists, storytellers and reporters take over KQED News and present a show at the Brava Theatre\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-29:\u003c/strong> \u003ca href=\"https://philharmonia.org/2017-2018-season/beethoven-unleashed/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Ochestra wraps up its season with a double dose of Beethoven\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13748662 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg\" alt=\"Ariana Proehl and Cy Musiker out at a gallery\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker out at a gallery \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On The Do List this week, we’re welcoming the return to the Bay Area of Tony Kushner’s mind-bogglingly brilliant play \u003cem>Angels in America, \u003c/em>plus an art exhibition in San Jose on the meaning of the house, and two nights with Meshell Ndgeocello, my co-host, KQED Youth Media Manager Ariana Proehl’s favorite artist. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>May 3-4:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829821/meshell-ndegeocello-finds-healing-in-her-favorite-songs\" target=\"_blank\" rel=\"noopener\">Meshell Ndgeocello finds healing in song with shows at the Freight and Salvage, and we all feel better\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20-Aug. 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13829836/the-meaning-of-the-elusive-single-family-home-at-the-san-jose-museum-of-art\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Art presents an exhibition examining the meaning of the single family home\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20, 21 and 27:\u003c/strong> \u003ca href=\"http://poormanswhiskey.com/\" target=\"_blank\" rel=\"noopener\">Bay Area country band Poor Man’s Whiskey celebrates a new album with shows at Hopmonk in Sebastopol and The Great American Music Hall, and join an all star lineup for a North Bay fires fundraiser\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 17-July 22:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">Tony Kushner’s play Angels in America returns to the Bay Area, where it was born.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829749/a-young-jorja-smith-poised-for-stardom\" target=\"_blank\" rel=\"noopener\">Reveling in the slow jams of young British singer Jorja Smith\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13829757&action=edit\" target=\"_blank\" rel=\"noopener\">Young artists, storytellers and reporters take over KQED News and present a show at the Brava Theatre\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-29:\u003c/strong> \u003ca href=\"https://philharmonia.org/2017-2018-season/beethoven-unleashed/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Ochestra wraps up its season with a double dose of Beethoven\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13748662 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg\" alt=\"Ariana Proehl and Cy Musiker out at a gallery\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker out at a gallery \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Angels in America,\u003c/em> Tony Kushner’s mind-bogglingly brilliant and magical play about the early days of the AIDS crisis, Glasnost, Ronald Reagan, Mormonism, Jewishness, the villainy of Roy Cohn and angels, was born in San Francisco. Kushner wrote parts of the play at a cabin near the Russian River, and rewrote (and rewrote) drafts at Café Flore in the Castro. Tony Taccone, now the outgoing Artistic Director for Berkeley Repertory Theater, and Oskar Eustis, now head of New York’s Public Theatey, commissioned the sprawling pair of plays, each about three-and-a-half hours long, for the Eureka Theater in 1990, where part one got its first production. Then Eustis and Taccone directed the first full production in Los Angeles back in 1992.\u003c/p>\n\u003cp>Belize, the heroic AIDS nurse in the play, describes Heaven as just like San Francisco. “Everyone in Balenciaga gowns with red corsages,” Belize says, “and big dance palaces full of music and lights and racial impurity and gender confusion. And all the deities are creole, mulatto, brown as the mouths of rivers. Race, taste and history finally overcome.”\u003c/p>\n\u003cfigure id=\"attachment_13829731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13829731 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-800x450.jpg\" alt=\"Caldwell Tidicue (Mr. Lies) and Bethany Jillard (Harper Pitt) in a scene from Angels in America \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caldwell Tidicue (Mr. Lies) and Bethany Jillard (Harper Pitt) in a scene from Angels in America \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taccone is directing the two sprawling plays again as he ends his tenure leading Berkeley Rep. He told me on a rare day off that he’s loving the arduous process. “It’s a big mountain to climb,” Taccone said, “and we’re climbing it. But also the views are beautiful on the way up.”\u003c/p>\n\u003cp>The play, Taccone says, was prescient on climate change and politics in ways no one saw at the time. “We see it in the triumph of right wing policies and with Trump in the White House,” he said. Cohn, a prominent character in the play, “was an early mentor to Trump.”\u003c/p>\n\u003cp>But the play’s genius is clear, not for its accurate predictions, but for it’s magical moments and acts of mercy. An angel invests a man dying of AIDS with the burden of prophecy. The ghost of Ethel Rosenberg says the Jewish prayer for the dead over lawyer Cohn, the man who helped send her to the electric chair for spying for the Russians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Angels in America\u003c/em> runs April 17 through July 22 at Berkeley Repertory Theater. \u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UlyyD-JlwbM\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Angels in America,\u003c/em> Tony Kushner’s mind-bogglingly brilliant and magical play about the early days of the AIDS crisis, Glasnost, Ronald Reagan, Mormonism, Jewishness, the villainy of Roy Cohn and angels, was born in San Francisco. Kushner wrote parts of the play at a cabin near the Russian River, and rewrote (and rewrote) drafts at Café Flore in the Castro. Tony Taccone, now the outgoing Artistic Director for Berkeley Repertory Theater, and Oskar Eustis, now head of New York’s Public Theatey, commissioned the sprawling pair of plays, each about three-and-a-half hours long, for the Eureka Theater in 1990, where part one got its first production. Then Eustis and Taccone directed the first full production in Los Angeles back in 1992.\u003c/p>\n\u003cp>Belize, the heroic AIDS nurse in the play, describes Heaven as just like San Francisco. “Everyone in Balenciaga gowns with red corsages,” Belize says, “and big dance palaces full of music and lights and racial impurity and gender confusion. And all the deities are creole, mulatto, brown as the mouths of rivers. Race, taste and history finally overcome.”\u003c/p>\n\u003cfigure id=\"attachment_13829731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13829731 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-800x450.jpg\" alt=\"Caldwell Tidicue (Mr. Lies) and Bethany Jillard (Harper Pitt) in a scene from Angels in America \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/4-Caldwell-Tidicue-28Mr.-Lies29-and-Bethany-Jillard-28Harper29-e1524031238144.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caldwell Tidicue (Mr. Lies) and Bethany Jillard (Harper Pitt) in a scene from Angels in America \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taccone is directing the two sprawling plays again as he ends his tenure leading Berkeley Rep. He told me on a rare day off that he’s loving the arduous process. “It’s a big mountain to climb,” Taccone said, “and we’re climbing it. But also the views are beautiful on the way up.”\u003c/p>\n\u003cp>The play, Taccone says, was prescient on climate change and politics in ways no one saw at the time. “We see it in the triumph of right wing policies and with Trump in the White House,” he said. Cohn, a prominent character in the play, “was an early mentor to Trump.”\u003c/p>\n\u003cp>But the play’s genius is clear, not for its accurate predictions, but for it’s magical moments and acts of mercy. An angel invests a man dying of AIDS with the burden of prophecy. The ghost of Ethel Rosenberg says the Jewish prayer for the dead over lawyer Cohn, the man who helped send her to the electric chair for spying for the Russians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Angels in America\u003c/em> runs April 17 through July 22 at Berkeley Repertory Theater. \u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UlyyD-JlwbM'\n title='//www.youtube.com/embed/UlyyD-JlwbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Kendrick Lamar, 'Press Democrat' Claim Pulitzers. Here's the Full List of Winners",
"headTitle": "Kendrick Lamar, ‘Press Democrat’ Claim Pulitzers. Here’s the Full List of Winners | KQED",
"content": "\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\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=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Lamar joins the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post\u003c/em> as this year's prize winners. See the list of winners and watch Monday's announcement ceremony here.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\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=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jamedra Brown-Fleischman is back as my Do List co-host this week to talk about San Francisco Ballet’s big dance festival, \u003cem>Unbound\u003c/em>, and its 12 world premieres — and about another world premiere from San Francisco queer choreographer Sean Dorsey. Plus, we ask: What would possess seasoned Broadway show producers to mash up the Go-Go’s pop-punk with an Elizabethan melodrama?! The answers await in the podcast above and the story links below.\u003c/p>\n\u003cp>\u003cstrong>April 13\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829196/twin-voices-of-the-african-diaspora\" rel=\"noopener\" target=\"_blank\">The Ibeyi sisters make thrilling music of the African diaspora\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 19-21\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829213/sean-dorsey-worries-about-boys-in-trouble\" rel=\"noopener\" target=\"_blank\">Choreographer Sean Dorsey offers a transgender and queer take on how to be a better man\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 20-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829141/the-future-of-dance-on-pointe-at-sf-ballet\" rel=\"noopener\" target=\"_blank\">SF Ballet’s \u003cem>Unbound\u003c/em> looks to partially answer the question: Where is dance headed in the 21st century?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 13 & 20\u003c/strong>: \u003ca href=\"http://www.ratatet.com/new-events/\" target=\"_blank\" rel=\"noopener\">Allan Hall’s jazz band Ratatet makes exquisite chamber jazz in shows at Berkeley’s Jazz Conservatory and at San Jose’s Art Boutiki\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"http://www.studiograndoakland.org/calendar/2018/4/21/full-color-a-staged-reading\" target=\"_blank\" rel=\"noopener\">The Afro Urban Society and Studio Grand in Oakland present \u003cem>Full Color\u003c/em>, a short story written by Itoro Udofia that has been adapted for the stage in an event honoring Sexual Assault Awareness Month\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 10-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829147/elizabethan-melodrama-meets-the-go-gos-in-head-over-heels\" rel=\"noopener\" target=\"_blank\">Elizabethan melodrama meets the Go-Go’s pop-punk in the world premiere of the musical \u003cem>Head Over Heels\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"https://www.eventbrite.com/e/drunk-theatre-tickets-42516267300?aff=pfcal&_eboga=646760143.1523494195\" target=\"_blank\" rel=\"noopener\">Drunk Theatre puts actors to a test that no “method” can prepare them for\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 14\u003c/strong>: \u003ca href=\"http://www.slimspresents.com/event/wax-idols-gamh-w-pardoner-humid-sea-witch-presents/\" target=\"_blank\" rel=\"noopener\">The Oakland band Wax Idols has a new album and CD release concert that shows off their morbid sense of punk humor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ps0QOAiXY3M\u003c/p>\n\n",
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"content": "\u003cp>The Go-Go’s, the all-woman new wave band from the 1980s, might not seem a natural fit for a reboot of \u003cem>Arcadia\u003c/em>, a play by England’s Philip Sidney written in the late 1600s. Elizabethan music, of course, was more about troubadours playing lutes. But somehow the writers Jeff Whitty (of \u003cem>Avenue Q\u003c/em> fame) and James Magruder have built a musical out of Sidney’s obscure work, with the addition of songs like “We Got the Beat,” “Get Up and Go,” “Cool Jerk,” “Vacation,” and, of course, “Head Over Heels.”\u003c/p>\n\u003cp>Michael Mayer (\u003cem>American Idiot\u003c/em> and \u003cem>Spring’s Awakening\u003c/em>) is directing, with Spencer Liff of \u003cem>So You Think You Can Dance\u003c/em> doing choreography, and the show is getting a tryout at the Curran in San Francisco before heading to Broadway. As my co-host Jamedra Brown-Fleischman informed us on The Do List, \u003cem>Arcadia\u003c/em> centers around a king who is told by an oracle (played by \u003cem>Rupaul’s Drag Race\u003c/em> runner-up Peppermint) that he will lose his daughters, his wife, and his kingdom, setting us up for a comedy of mistaken identity and cross-dressing.\u003c/p>\n\u003cfigure id=\"attachment_13829174\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-800x490.jpg\" alt=\"Alexandra Socha as Philoclea, Jeremy Kushner as Basilius, Bonnie Milligan as Pamela and Rachel York as Gynecia in a rehearsal for ‘Head Over Heels‘\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-1020x625.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-1920x1176.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-1180x723.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-960x588.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295-520x318.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/HeadOverHeelsReh0085r-1-e1523480246295.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexandra Socha as Philoclea, Jeremy Kushnier as Basilius, Bonnie Milligan as Pamela and Rachel York as Gynecia in a rehearsal for ‘Head Over Heels.’ \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeremy Kushnier plays the king, Basilius. “When I read the script I laughed my head off, out loud,” he said in an interview as rehearsals began at the Curran. “I like to think of it as a Shakespearean farce, with a lot of heart at the end. It really is relevant, talking about gender politics and racial politics. We can deal with all of these things in the context of this crazy Shakespearean romp.”\u003c/p>\n\u003cp>\u003cem>Head Over Heels\u003c/em> runs at the Curran through May 6. \u003ca href=\"https://sfcurran.com/shows/head-over-heels/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=toxWPNTgs9Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"headTitle": "How Do You Solve a Problem Like ‘Timon of Athens’? | KQED",
"content": "\u003cp>One of Shakespeare’s least-produced plays, \u003cem>Timon of Athens\u003c/em> has several strikes against its popularity. Possibly unfinished, the play is thought to have been partially written by prolific Jacobean playwright Thomas Middleton, and doesn’t appear to have ever been performed during Shakespeare’s time. Its also difficult to categorize: \u003cem>Timon\u003c/em> is sometimes labeled a tragedy, sometimes a “problem play,” and rarely ever someone’s “favorite.”\u003c/p>\n\u003cp>Even so, it’s been on the shortlist for Cutting Ball Theater’s co-founder Rob Melrose since 2000, when the then-fledgling company was tapped to stage a reading of the work for the Bay Area Shakespeare Marathon, and \u003ca href=\"https://www.sfgate.com/style/article/Play-s-the-thing-at-Bard-marathon-3063905.php\" target=\"_blank\" rel=\"noopener\">it was a surprise hit\u003c/a>.\u003c/p>\n\u003cp>Now, on the verge of Cutting Ball’s 20-year anniversary, Melrose’s adaptation of \u003cem>Timon of Athens\u003c/em> is both a testament to the experimental nature of his brainchild company (slated to turn over to associate artistic director Ariel Craft in July), and a reflection of the economic disparities that characterize his adoptive neighborhood, the Tenderloin, where Cutting Ball resides at EXIT on Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13829031\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829031\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg\" alt=\"\" width=\"800\" height=\"1101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-160x220.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-768x1057.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-960x1321.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-240x330.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-375x516.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-520x716.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brennan Pickman-Thoon as Timon of Athens. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we first meet Timon (Brennan Pickman-Thoon) he’s jovial, benevolent. He pays out gold to cover a friend’s debt, increases the status of a manservant that he might wed, then invites everyone over for a feast at his expense. Clad in neat, inoffensive grayscale and expensive sneakers, he’s the very model of a modern-day, tech-minted millionaire. The citizens of Athens, all too happy to avail themselves of his seemingly bottomless generosity, carouse with him and sing his praises — all except the ragged philosopher of the street, Apemantus (David Sinaiko), whose ill-tempered pronouncements offer ignored foreshadowing of Timon’s eventual downfall.\u003c/p>\n\u003cp>While Timon as careless spendthrift is as colorless as his tailored suit, Apemantus as oracle is vulgar, florid, and dynamic, cursed like Cassandra to be disbelieved as he looks into the hearts of Timon’s inner circle and finds them hollow. “Who lives that’s not depraved or depraves?” he demands, as a cupid in silver disco chaps (John Steele Jr.) gyrates across the platform thrust of the stage (designed by Michael Locher) as if on a catwalk. Melrose deftly transplants this ancient bacchanal to the decadent excesses of the Bay Area elite, complete with wedge-heeled dancing girls, Venetian party masks, and a blowhard in a custom leather vest (Douglas Nolan, as Ventidius), who busts out an opportune baggie of cocaine, aka “four milk-white horses, trapped in silver.”\u003c/p>\n\u003cfigure id=\"attachment_13829032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg\" alt=\"\" width=\"800\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-960x819.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-520x444.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cupid (John Steele, Jr.) struts the catwalk. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t until Timon’s swift fall from favor once his money runs out that the play really comes into its own. Described by Shakespearean scholar G. Wilson Knight as a “pilgrimage of hate,” Timon’s descent into poverty and justifiable indignation of his so-called friends’ refusal to help in his time of need rivals Lear’s downward spiral. In his “cave” crafted of blue tarp, his clothing reduced to rags, talking frequently to himself, he cuts an all-too familiar figure of urban impoverishment. In just a few scenes he’s gone from one extreme to the other, a fact that Apemantus remarks upon when he comes to visit and trade comically caustic insults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Historically, the problem of \u003cem>Timon of Athens\u003c/em> is that the play never resolves itself in a truly satisfactory manner. The titular character dies almost of spite before the other plot threads come to an end, and much of the dialogue is so gleefully absurd as to make characterizing it a tragedy nigh impossible. Even so, under Melrose’s sure direction, the able ensemble cast skillfully morphs from lords to servants, senators to soldiers; a few astutely chosen costume pieces (provided by Alina Bokovikova and Erika Mae Martin) anchoring their transformation. Courtney Walsh, in a scene-stealing performance as Timon’s faithful steward, Flavius, offers the audience more nuanced context on her employer’s character than he is able to provide on his own, while Ed Berkeley, as the exiled Alcibiades — who bears a chip on his shoulder almost as large as Timon’s — swaggers in the spotlight, a conqueror in the making.\u003c/p>\n\u003cfigure id=\"attachment_13829030\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg\" alt=\"\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-960x786.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-520x425.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timon (Brennan Pickman-Thoon) toasts his guests. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the lead, Pickman-Thoon plays to his extremes admirably, from generous benefactor to indigent recluse. But what his Timon possibly lacks is a middle range of emotions. He’s so eventually consumed with pure vitriol, it leaves little room for him to express shades of sorrow, enlightenment, or true self-awareness. This is a detriment in one sense, and yet his inability to see beyond his limited perspective cements him very much in the here-and-now, where crafting the perfect Twitter bio passes for self-examination, and disregarding the counsel of others is a national pastime.\u003c/p>\n\u003cp>Overall, Melrose’s triumphal close to Cutting Ball’s 19th season offers both a rare chance to see a little-performed Shakespearean work, and an opportunity to examine our own attitudes regarding the acquisition and unequal distribution of wealth — in a neighborhood that exemplifies and amplifies the realities of both.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Timon of Athens’ runs through Sunday, April 29, at Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Cutting Ball Theater Company reveals contemporary themes of tech wealth and inequity in one of the Bard’s least-known plays.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of Shakespeare’s least-produced plays, \u003cem>Timon of Athens\u003c/em> has several strikes against its popularity. Possibly unfinished, the play is thought to have been partially written by prolific Jacobean playwright Thomas Middleton, and doesn’t appear to have ever been performed during Shakespeare’s time. Its also difficult to categorize: \u003cem>Timon\u003c/em> is sometimes labeled a tragedy, sometimes a “problem play,” and rarely ever someone’s “favorite.”\u003c/p>\n\u003cp>Even so, it’s been on the shortlist for Cutting Ball Theater’s co-founder Rob Melrose since 2000, when the then-fledgling company was tapped to stage a reading of the work for the Bay Area Shakespeare Marathon, and \u003ca href=\"https://www.sfgate.com/style/article/Play-s-the-thing-at-Bard-marathon-3063905.php\" target=\"_blank\" rel=\"noopener\">it was a surprise hit\u003c/a>.\u003c/p>\n\u003cp>Now, on the verge of Cutting Ball’s 20-year anniversary, Melrose’s adaptation of \u003cem>Timon of Athens\u003c/em> is both a testament to the experimental nature of his brainchild company (slated to turn over to associate artistic director Ariel Craft in July), and a reflection of the economic disparities that characterize his adoptive neighborhood, the Tenderloin, where Cutting Ball resides at EXIT on Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13829031\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829031\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg\" alt=\"\" width=\"800\" height=\"1101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-800x1101.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-160x220.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-768x1057.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-960x1321.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-240x330.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-375x516.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson-520x716.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Brennan-Pickman-Thoon-is-Timon-in-Cutting-Ball_s-Timon-of-Athens.-Photo-by-Liz-Olson.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brennan Pickman-Thoon as Timon of Athens. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we first meet Timon (Brennan Pickman-Thoon) he’s jovial, benevolent. He pays out gold to cover a friend’s debt, increases the status of a manservant that he might wed, then invites everyone over for a feast at his expense. Clad in neat, inoffensive grayscale and expensive sneakers, he’s the very model of a modern-day, tech-minted millionaire. The citizens of Athens, all too happy to avail themselves of his seemingly bottomless generosity, carouse with him and sing his praises — all except the ragged philosopher of the street, Apemantus (David Sinaiko), whose ill-tempered pronouncements offer ignored foreshadowing of Timon’s eventual downfall.\u003c/p>\n\u003cp>While Timon as careless spendthrift is as colorless as his tailored suit, Apemantus as oracle is vulgar, florid, and dynamic, cursed like Cassandra to be disbelieved as he looks into the hearts of Timon’s inner circle and finds them hollow. “Who lives that’s not depraved or depraves?” he demands, as a cupid in silver disco chaps (John Steele Jr.) gyrates across the platform thrust of the stage (designed by Michael Locher) as if on a catwalk. Melrose deftly transplants this ancient bacchanal to the decadent excesses of the Bay Area elite, complete with wedge-heeled dancing girls, Venetian party masks, and a blowhard in a custom leather vest (Douglas Nolan, as Ventidius), who busts out an opportune baggie of cocaine, aka “four milk-white horses, trapped in silver.”\u003c/p>\n\u003cfigure id=\"attachment_13829032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg\" alt=\"\" width=\"800\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-960x819.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson-520x444.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Cupid-John-Steele-Jr.-leads-a-dance-at-one-of-Timon_s-wild-parties.-Photo-by-Liz-Olson.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cupid (John Steele, Jr.) struts the catwalk. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t until Timon’s swift fall from favor once his money runs out that the play really comes into its own. Described by Shakespearean scholar G. Wilson Knight as a “pilgrimage of hate,” Timon’s descent into poverty and justifiable indignation of his so-called friends’ refusal to help in his time of need rivals Lear’s downward spiral. In his “cave” crafted of blue tarp, his clothing reduced to rags, talking frequently to himself, he cuts an all-too familiar figure of urban impoverishment. In just a few scenes he’s gone from one extreme to the other, a fact that Apemantus remarks upon when he comes to visit and trade comically caustic insults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Historically, the problem of \u003cem>Timon of Athens\u003c/em> is that the play never resolves itself in a truly satisfactory manner. The titular character dies almost of spite before the other plot threads come to an end, and much of the dialogue is so gleefully absurd as to make characterizing it a tragedy nigh impossible. Even so, under Melrose’s sure direction, the able ensemble cast skillfully morphs from lords to servants, senators to soldiers; a few astutely chosen costume pieces (provided by Alina Bokovikova and Erika Mae Martin) anchoring their transformation. Courtney Walsh, in a scene-stealing performance as Timon’s faithful steward, Flavius, offers the audience more nuanced context on her employer’s character than he is able to provide on his own, while Ed Berkeley, as the exiled Alcibiades — who bears a chip on his shoulder almost as large as Timon’s — swaggers in the spotlight, a conqueror in the making.\u003c/p>\n\u003cfigure id=\"attachment_13829030\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829030\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg\" alt=\"\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-960x786.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Timon-Brennan-Pickman-Thoon-gives-a-toast-at-one-of-his-wild-parties.-Photo-by-Liz-Olson-520x425.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timon (Brennan Pickman-Thoon) toasts his guests. \u003ccite>(Liz Olson/Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the lead, Pickman-Thoon plays to his extremes admirably, from generous benefactor to indigent recluse. But what his Timon possibly lacks is a middle range of emotions. He’s so eventually consumed with pure vitriol, it leaves little room for him to express shades of sorrow, enlightenment, or true self-awareness. This is a detriment in one sense, and yet his inability to see beyond his limited perspective cements him very much in the here-and-now, where crafting the perfect Twitter bio passes for self-examination, and disregarding the counsel of others is a national pastime.\u003c/p>\n\u003cp>Overall, Melrose’s triumphal close to Cutting Ball’s 19th season offers both a rare chance to see a little-performed Shakespearean work, and an opportunity to examine our own attitudes regarding the acquisition and unequal distribution of wealth — in a neighborhood that exemplifies and amplifies the realities of both.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Timon of Athens’ runs through Sunday, April 29, at Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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