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"content": "\u003cp>Since 2003, the San Francisco International Arts Festival has presented an eclectic array of performance—from circus to cabaret, dance to drag, solo shows to sprawling ensembles.\u003c/p>\n\u003cp>For audiences unfamiliar with performing arts festivals in other counties (including the Canadian Fringe Festival circuit, the Festival d’Avignon, and the largest of them all, the Edinburgh Festival), such an array of possibilities can seem daunting. How to choose between acts of similar merit but completely different mediums performing at the same time?\u003c/p>\n\u003cfigure id=\"attachment_13833125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg\" alt=\"\" width=\"800\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dandelion/Bandelion will perform at SFIAF in “We Are All Dragons in Drag.” \u003ccite>(Hans Holtan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For example, what represents the shrewdest choice for an adventurous festival-goer: the chance to see Bay Area solo storyteller \u003cstrong>Brian Copeland\u003c/strong> in his foray into documentary drama, \u003cem>The Scion\u003c/em>, or \u003cstrong>Baobab\u003c/strong> dance ensemble from Japan, paired with local queer dance company \u003cstrong>STEAMROLLER\u003c/strong>? The answer is twofold: as each act performs multiple dates, there’s ample opportunity to see both—but also, accepting in the moment that there is no wrong choice can be liberating.\u003c/p>\n\u003cp>In truth, successful festival-hopping includes a component of surrender, especially as Fort Mason, where SFIAF now makes its home, is a bit of a trek for downtown city dwellers. “That hill,” observes festival director Andrew Wood, “is a bit of a physical and psychological barrier.”\u003c/p>\n\u003cp>To get the most out of any festival, but particularly one as varied as the SFIAF, making a full day of it is the best approach, with a willingness to take a chance on artists or art forms you may not have previously experienced. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still looking for direction? Here are some of our picks below.\u003c/p>\n\u003ch2>Think Globally\u003c/h2>\n\u003cp>In terms of work that hasn’t been seen before in the Bay Area, the international acts are the festival’s biggest draw, though they typically only make up around 25% of the bill on any given year. This year sees not only the return of circus to SFIAF after an eleven-year hiatus, but one of the featured circus companies, \u003cstrong>Cirquantique\u003c/strong>, hails from Montreal, one of the hottest circus cities in the world. A female-led “burlesque” circus cooperative making their US debut, Cirquantique’s show, \u003cem>Bang Bang\u003c/em>, transports audiences to a prohibition-era bordello, where the working girls rise up against the bootlegging mafia to control their own bodies—and their own destinies.\u003c/p>\n\u003cp>Another highly-anticipated international act is Taiwan’s \u003cstrong>Pao-Chang Tsai\u003c/strong>, whose “overtly queer,” multi-media examination of the consequences of social media and data mining, \u003cem>Solo Date\u003c/em>, is one that Wood has been working to bring to San Francisco since 2016. Confronted with the loss of his longtime lover Alain, Tsai (as Ho-Nien) seeks to recreate him through the advances of artificial intelligence (a scenario somewhat reminiscent of a \u003cem>Black Mirror\u003c/em> episode), with unforeseen consequences. Almost aggressively futuristic, yet emphatically human, Tsai’s piece seems tailor-made for San Francisco—where new tech and old principles so often collide.\u003c/p>\n\u003cfigure id=\"attachment_13832861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1.jpg 1153w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pao-Chang Tsai in Solo Date at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Act Locally\u003c/h2>\n\u003cp>Putting the San Francisco in SFIAF, acts as varied as the aforementioned Brian Copeland and STEAMROLLER Dance Company rub elbows with the likes of experimental performance artist and “sculptural” costumer \u003cstrong>Sha Sha Higby\u003c/strong>, and \u003cstrong>Dandelion/Bandelion\u003c/strong>’s playful, participatory \u003cem>We are All Dragons in Drag\u003c/em>. In keeping with the spirit of the “international” component, however, many of the featured acts also incorporate a strong diasporic identity into their work, such as Los Altos’ \u003cstrong>Samudra Dance Creations\u003c/strong> and \u003cem>The Caged Bird Sings\u003c/em>, which takes Indian classical dance as inspiration and reinterprets it for a modern audience. Likewise, Oakland’s \u003cstrong>De Rompe y Raja Cultural Association\u003c/strong> performs an original Afro-Peruvian musical entitled \u003cem>Cristo Moreno\u003c/em> in tribute to the African influences that helped shape South America tradition, and \u003cstrong>Theatre Flamenco de San Francisco\u003c/strong> invite international performers—from Spain, Mexico, South America, and India—for their newest piece \u003cem>El Cruce de Lenguajes\u003c/em> (\u003cem>The Crossing of Languages\u003c/em>), created especially for the festival.\u003c/p>\n\u003cfigure id=\"attachment_13832879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theatre Flamenco in “El Cruce de Lenguajes,” with artists from Spain, Mexico, India, South America, and the USA. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Down By the Riverside\u003c/h2>\n\u003cp>One of the biggest events for this year’s SFIAF, and one very much rooted in the American experience, is this year’s centerpiece performance, \u003ca href=\"https://www.kqed.org/arts/13832643/jazz-is-protest-music-in-angela-davis-anthony-brown-collaboration\">\u003cem>Down By the Riverside: Requiem for a King\u003c/em>\u003c/a>. A world premiere that interprets Martin Luther King, Jr.’s antiwar “Beyond Vietnam” speech through instrumental jazz, movement, and song, it’s led by composer \u003cstrong>Dr. Anthony Brown and the Asian-American Orchestra\u003c/strong>, and features \u003cstrong>Dr. Angela Davis\u003c/strong>. A companion piece, \u003cem>Go For Broke\u003c/em>, gives recognition to the Nisei veterans and the people forced into Japanese-American internment camps during WWII, featuring former poet laureate of San Francisco, Janice Mirikitani.\u003c/p>\n\u003cfigure id=\"attachment_13832859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg\" alt=\"\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-520x239.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice.jpg 848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Mirikitani, Dr. Angela Davis, and Dr. Anthony Brown to perform centerpiece production at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the challenges of curating and hosting a multi-faceted festival without a single defining factor or performance style, Wood prefers to think of the inability to pigeonhole his festival as its own kind of focus.\u003c/p>\n\u003cp>“There’s a lot of variety here,” he emphasizes, “(of artists) that you may never have seen before, and are not part of any circuit that’s going to come around every couple of years. And that’s what festivals are for…to experience this density, and variety of work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco International Arts Festival runs Thursday, May 24–Sunday, June 3. \u003ca href=\"http://www.sfiaf.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "It's probably best to take a full day to be adventurous about the festival's varied lineup—but here's what's not to miss.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 2003, the San Francisco International Arts Festival has presented an eclectic array of performance—from circus to cabaret, dance to drag, solo shows to sprawling ensembles.\u003c/p>\n\u003cp>For audiences unfamiliar with performing arts festivals in other counties (including the Canadian Fringe Festival circuit, the Festival d’Avignon, and the largest of them all, the Edinburgh Festival), such an array of possibilities can seem daunting. How to choose between acts of similar merit but completely different mediums performing at the same time?\u003c/p>\n\u003cfigure id=\"attachment_13833125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg\" alt=\"\" width=\"800\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Bandelion_This_Little_Light_6_Photo_by_Hans_Holtan-copy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dandelion/Bandelion will perform at SFIAF in “We Are All Dragons in Drag.” \u003ccite>(Hans Holtan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For example, what represents the shrewdest choice for an adventurous festival-goer: the chance to see Bay Area solo storyteller \u003cstrong>Brian Copeland\u003c/strong> in his foray into documentary drama, \u003cem>The Scion\u003c/em>, or \u003cstrong>Baobab\u003c/strong> dance ensemble from Japan, paired with local queer dance company \u003cstrong>STEAMROLLER\u003c/strong>? The answer is twofold: as each act performs multiple dates, there’s ample opportunity to see both—but also, accepting in the moment that there is no wrong choice can be liberating.\u003c/p>\n\u003cp>In truth, successful festival-hopping includes a component of surrender, especially as Fort Mason, where SFIAF now makes its home, is a bit of a trek for downtown city dwellers. “That hill,” observes festival director Andrew Wood, “is a bit of a physical and psychological barrier.”\u003c/p>\n\u003cp>To get the most out of any festival, but particularly one as varied as the SFIAF, making a full day of it is the best approach, with a willingness to take a chance on artists or art forms you may not have previously experienced. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still looking for direction? Here are some of our picks below.\u003c/p>\n\u003ch2>Think Globally\u003c/h2>\n\u003cp>In terms of work that hasn’t been seen before in the Bay Area, the international acts are the festival’s biggest draw, though they typically only make up around 25% of the bill on any given year. This year sees not only the return of circus to SFIAF after an eleven-year hiatus, but one of the featured circus companies, \u003cstrong>Cirquantique\u003c/strong>, hails from Montreal, one of the hottest circus cities in the world. A female-led “burlesque” circus cooperative making their US debut, Cirquantique’s show, \u003cem>Bang Bang\u003c/em>, transports audiences to a prohibition-era bordello, where the working girls rise up against the bootlegging mafia to control their own bodies—and their own destinies.\u003c/p>\n\u003cp>Another highly-anticipated international act is Taiwan’s \u003cstrong>Pao-Chang Tsai\u003c/strong>, whose “overtly queer,” multi-media examination of the consequences of social media and data mining, \u003cem>Solo Date\u003c/em>, is one that Wood has been working to bring to San Francisco since 2016. Confronted with the loss of his longtime lover Alain, Tsai (as Ho-Nien) seeks to recreate him through the advances of artificial intelligence (a scenario somewhat reminiscent of a \u003cem>Black Mirror\u003c/em> episode), with unforeseen consequences. Almost aggressively futuristic, yet emphatically human, Tsai’s piece seems tailor-made for San Francisco—where new tech and old principles so often collide.\u003c/p>\n\u003cfigure id=\"attachment_13832861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pao-Chang-Large-Image-1.jpg 1153w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pao-Chang Tsai in Solo Date at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Act Locally\u003c/h2>\n\u003cp>Putting the San Francisco in SFIAF, acts as varied as the aforementioned Brian Copeland and STEAMROLLER Dance Company rub elbows with the likes of experimental performance artist and “sculptural” costumer \u003cstrong>Sha Sha Higby\u003c/strong>, and \u003cstrong>Dandelion/Bandelion\u003c/strong>’s playful, participatory \u003cem>We are All Dragons in Drag\u003c/em>. In keeping with the spirit of the “international” component, however, many of the featured acts also incorporate a strong diasporic identity into their work, such as Los Altos’ \u003cstrong>Samudra Dance Creations\u003c/strong> and \u003cem>The Caged Bird Sings\u003c/em>, which takes Indian classical dance as inspiration and reinterprets it for a modern audience. Likewise, Oakland’s \u003cstrong>De Rompe y Raja Cultural Association\u003c/strong> performs an original Afro-Peruvian musical entitled \u003cem>Cristo Moreno\u003c/em> in tribute to the African influences that helped shape South America tradition, and \u003cstrong>Theatre Flamenco de San Francisco\u003c/strong> invite international performers—from Spain, Mexico, South America, and India—for their newest piece \u003cem>El Cruce de Lenguajes\u003c/em> (\u003cem>The Crossing of Languages\u003c/em>), created especially for the festival.\u003c/p>\n\u003cfigure id=\"attachment_13832879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Theatre-Flamenco_SFIAF-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theatre Flamenco in “El Cruce de Lenguajes,” with artists from Spain, Mexico, India, South America, and the USA. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Down By the Riverside\u003c/h2>\n\u003cp>One of the biggest events for this year’s SFIAF, and one very much rooted in the American experience, is this year’s centerpiece performance, \u003ca href=\"https://www.kqed.org/arts/13832643/jazz-is-protest-music-in-angela-davis-anthony-brown-collaboration\">\u003cem>Down By the Riverside: Requiem for a King\u003c/em>\u003c/a>. A world premiere that interprets Martin Luther King, Jr.’s antiwar “Beyond Vietnam” speech through instrumental jazz, movement, and song, it’s led by composer \u003cstrong>Dr. Anthony Brown and the Asian-American Orchestra\u003c/strong>, and features \u003cstrong>Dr. Angela Davis\u003c/strong>. A companion piece, \u003cem>Go For Broke\u003c/em>, gives recognition to the Nisei veterans and the people forced into Japanese-American internment camps during WWII, featuring former poet laureate of San Francisco, Janice Mirikitani.\u003c/p>\n\u003cfigure id=\"attachment_13832859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg\" alt=\"\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice-520x239.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Anthony-Angela-Janice.jpg 848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janice Mirikitani, Dr. Angela Davis, and Dr. Anthony Brown to perform centerpiece production at SFIAF. \u003ccite>(courtesy of SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the challenges of curating and hosting a multi-faceted festival without a single defining factor or performance style, Wood prefers to think of the inability to pigeonhole his festival as its own kind of focus.\u003c/p>\n\u003cp>“There’s a lot of variety here,” he emphasizes, “(of artists) that you may never have seen before, and are not part of any circuit that’s going to come around every couple of years. And that’s what festivals are for…to experience this density, and variety of work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco International Arts Festival runs Thursday, May 24–Sunday, June 3. \u003ca href=\"http://www.sfiaf.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "infinite-possibilities-8-theater-productions-to-take-in-this-summer",
"title": "Infinite Possibilities: 8 Theater Productions to Take in this Summer",
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"headTitle": "Infinite Possibilities: 8 Theater Productions to Take in this Summer | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Maybe it’s the longer daylight hours, or a trace memory of childhood summers “off,” but whatever the reason, there’s no denying that summertime in the Bay Area is the time to play. And fortunately for those of us whose idea of a good time is a riveting monologue or imaginative mise-en-scène, we can spend both the warmer days outdoors and chillier evenings inside watching some of the best performers the Bay Area has to offer. Here are our top picks for summertime theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832476\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg\" alt=\"Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in 'A Thousand Splendid Suns'\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13832476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in ‘A Thousand Splendid Suns’ \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>A Thousand Splendid Suns\u003c/em>\u003c/h3>\n\u003ch4>July 17–29\u003cbr>\nACT’s Geary Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/suns.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>If you missed Carey Perloff and Ursula Rani Sarma’s smash 2017 adaptation of Khaled Hosseini’s \u003cem>A Thousand Splendid Suns\u003c/em>, fret not. You can make up for it with this resurrection of the show, Perloff’s last hurrah at American Conservatory Theater, where she’s recently stepped down as artistic director after 26 years. Set in Afghanistan, this female-led work offers a look inside a Taliban-run Kabul through the intimate lens of a single household. It’s riveting, essential, transcendent drama, and an appropriate send-off for the woman who first ushered it onto the stage.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832483\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg\" alt=\"FURY Factory\" width=\"800\" height=\"893\" class=\"size-medium wp-image-13832483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1075x1200.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1180x1317.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-375x419.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein.jpg 1352w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FURY Factory \u003ccite>(Bob Epstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>FURY Factory\u003c/h3>\n\u003ch4>July 10–22\u003cbr>\nZ Below, NOHspace, and Joe Goode Annex (San Francisco) and The Flight Deck (Oakland)\u003cbr>\n\u003ca href=\"http://foolsfury.org/fury/furyfactory/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Every other year, experimental theater company fools FURY invites like-minded ensembles from all around the country for a festival of devised and collaborative ensemble work, which they’ve dubbed FURY Factory. Not only does FURY Factory provided opportunities for Bay Area audiences to connect with the work of such nationally-recognized companies as Pig Iron and Teatro Luna, but it ably showcases the wild diversity of Bay Area-based performance ensembles, from dance companies to clowns to the purely uncategorizable. And this year, to ensure that audiences on both sides of the Bay will get a shot at FURY, they’re expanding their programming to include Oakland’s Flight Deck as one of their venues.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832493\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg\" alt=\"Keith Hennessy in 'Crotch'\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-13832493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-798x1200.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy in ‘Crotch’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Crotch\u003c/em>\u003c/h3>\n\u003ch4>June 7–9\u003cbr>\nThe Lab, San Francisco\u003cbr>\n\u003ca href=\"https://www.thelab.org/projects/2018/6/7/keith-hennessy-crotch\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Looking for something out of the box? At The Lab, in the Mission District, San Francisco queer performance artist Keith Hennessy dusts off his Bessie award-winning \u003cem>Crotch\u003c/em> for its 10-year anniversary. A powerful and playful work that uses the German Fluxus artist/activist Joseph Beuys as a muse, and combines raw physicality, installation art, a lecture in art history and community ritual, this rare revival will inspire.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832495\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg\" alt=\"Andrew Chung and Marissa Skudlarek, 2017's Shortlived winners, performing 'All the Worlds Are Stages,' written by Ruben Gijalva & directed by Alejandro Torres. \" width=\"800\" height=\"534\" class=\"size-medium wp-image-13832495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Chung and Marissa Skudlarek, 2017’s Shortlived winners, performing ‘All the Worlds Are Stages,’ written by Ruben Gijalva & directed by Alejandro Torres. \u003ccite>(Daniel Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>PianoFight’s Shortlived VII\u003c/h3>\n\u003ch4>June 14–Aug. 25\u003cbr>\nPianoFight’s Main Stage, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-vii/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Can theater-going be as thrilling as a high-stakes sporting match? The fine folks at PianoFight think so, and they’re willing to put up $5,000 to prove it. Attendees at the seventh annual ShortLived competition Thursday-Saturday, from mid-June to the end of August, will cheer 48 competitors into the final round, where the winning play of the year walks away with a $5,000 cash prize and bragging rights for life.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832504\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg\" alt=\"Marga Gomez, who will star in 'King Of Cuba' \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13832504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez, who will star in ‘King Of Cuba’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>King of Cuba\u003c/em>\u003c/h3>\n\u003ch4>July 21–Aug. 19\u003cbr>\nBerkeley City Club, Berkeley\u003cbr>\n\u003ca href=\"http://centralworks.org/king-of-cuba/#showtab=details\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Ushering its 60th world premiere production into the public eye, 27 year-old Central Works presents an adaptation of Cristina García’s (2003) novel \u003cem>King of Cuba\u003c/em>, as adapted by García herself as part of Central Works’ Writer’s Workshop. A comedic speculation of the fate of an aging Cuban dictator, “El Comandante,” and his nemesis Goyo, who plots against him from Miami, this brash imagining stars Bay Area comedy legend Marga Gomez—and Steve Ortiz as her would-be assassin, with live percussion from Havana-born “bongocero” Carlos Caro.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832507\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AngelsSummer2-800x1200.jpg\" alt=\"Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of 'Angels in America, Part Two: Perestroika.'\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13832507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of ‘Angels in America, Part Two: Perestroika.’ \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Angels in America \u003c/em>\u003c/h3>\n\u003ch4>Through July 22\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>It may have opened in May, but Berkeley Rep’s superlative production of Tony Kushner’s barrier-breaking \u003cem>Angels in America\u003c/em> runs through July 22, making it the summer’s hottest theater pick. Consisting of two epic plays running in repertory, each around three-and-a-half hours long, \u003cem>Angels\u003c/em> is definitely a commitment, but once you start watching, you may never want it to end. In fact, it’s recommended to clear the calendar and see a marathon day of both shows back-to-back (presented mostly on Saturdays). Consider it a mini-vacation to an exotic realm.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832513\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg\" alt=\"Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in 'Seeing Red: A Time-Traveling Musical'\" width=\"800\" height=\"1143\" class=\"size-medium wp-image-13832513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-1020x1457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-840x1200.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-960x1371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-520x743.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in ‘Seeing Red: A Time-Traveling Musical’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>\u003c/h3>\n\u003ch4>Various Locations\u003cbr>\nThrough Sept. 9\u003cbr>\n\u003ca href=\"http://www.sfmt.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>This summer, declare independence from specious “Independence Day” traditions that glorify war toys and frighten your pets. Then spend a leisurely afternoon with the San Francisco Mime Troupe in Dolores Park, where they open their 59th Season with company member Rotimi Agbabiaka’s \u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>. Like Easter Sunday with the Sisters of Perpetual Indulgence, July 4 with the SFMT is an inclusive, surprisingly family-friendly reminder that the Bay Area is not Kansas, and if we wanna celebrate that most bellicose of American holidays with a comic musical about American socialism, then who’s to say we shouldn’t? (Perhaps the NEA, who pulled the Mime Troupe’s funding this season?) This year, it’s up to us to support them.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832540\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg\" alt=\"James Ijames\" width=\"800\" height=\"400\" class=\"size-medium wp-image-13832540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Ijames \u003ccite>(Kim Carson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shotgun Players’ \u003cem>White\u003c/em>\u003c/h3>\n\u003ch4>July 6–Aug. 5\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"https://goo.gl/4shmNu\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>With this West Coast premiere of Pennsylvania-based playwright James Ijames’ provocative comedy about racial identity, cultural appropriation, fine art, and what it means to challenge the gatekeepers, Shotgun Players remains committed to new works with fresh takes on hot topics. In a farce reminiscent of the \u003ca href=\"https://hyperallergic.com/131687/i-amjoe-%20scanlan/\" rel=\"noopener\" target=\"_blank\">Joe Scanlan/Donelle Woolford controversy\u003c/a> at the Whitney Biennial in 2014, \u003cem>White\u003c/em> imagines a scenario in which rising artist Gus (Adam Donovan), a white man, hires Vanessa (Santoya Fields), a black woman, to pretend to be the artist behind his work so he can get into a museum exhibition. What happens next surprises even them, and certainly the audience.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Infinite Possibilities: 8 Theater Productions to Take in this Summer | KQED",
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"headline": "Infinite Possibilities: 8 Theater Productions to Take in this Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-medium wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Maybe it’s the longer daylight hours, or a trace memory of childhood summers “off,” but whatever the reason, there’s no denying that summertime in the Bay Area is the time to play. And fortunately for those of us whose idea of a good time is a riveting monologue or imaginative mise-en-scène, we can spend both the warmer days outdoors and chillier evenings inside watching some of the best performers the Bay Area has to offer. Here are our top picks for summertime theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832476\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg\" alt=\"Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in 'A Thousand Splendid Suns'\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13832476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ACT_NadineMalouf_BarzinAkhavan_DenmoIbrahim_photo_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Malouf, Barzin Akhavan and Denmo Ibrahim in ‘A Thousand Splendid Suns’ \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>A Thousand Splendid Suns\u003c/em>\u003c/h3>\n\u003ch4>July 17–29\u003cbr>\nACT’s Geary Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/suns.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>If you missed Carey Perloff and Ursula Rani Sarma’s smash 2017 adaptation of Khaled Hosseini’s \u003cem>A Thousand Splendid Suns\u003c/em>, fret not. You can make up for it with this resurrection of the show, Perloff’s last hurrah at American Conservatory Theater, where she’s recently stepped down as artistic director after 26 years. Set in Afghanistan, this female-led work offers a look inside a Taliban-run Kabul through the intimate lens of a single household. It’s riveting, essential, transcendent drama, and an appropriate send-off for the woman who first ushered it onto the stage.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832483\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg\" alt=\"FURY Factory\" width=\"800\" height=\"893\" class=\"size-medium wp-image-13832483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-800x893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1075x1200.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-1180x1317.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-375x419.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/FURYFactory_13th-Floor.-Space-Pilots-in-Spaaaace.-Photo-by-Bob-Epstein.jpg 1352w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FURY Factory \u003ccite>(Bob Epstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>FURY Factory\u003c/h3>\n\u003ch4>July 10–22\u003cbr>\nZ Below, NOHspace, and Joe Goode Annex (San Francisco) and The Flight Deck (Oakland)\u003cbr>\n\u003ca href=\"http://foolsfury.org/fury/furyfactory/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Every other year, experimental theater company fools FURY invites like-minded ensembles from all around the country for a festival of devised and collaborative ensemble work, which they’ve dubbed FURY Factory. Not only does FURY Factory provided opportunities for Bay Area audiences to connect with the work of such nationally-recognized companies as Pig Iron and Teatro Luna, but it ably showcases the wild diversity of Bay Area-based performance ensembles, from dance companies to clowns to the purely uncategorizable. And this year, to ensure that audiences on both sides of the Bay will get a shot at FURY, they’re expanding their programming to include Oakland’s Flight Deck as one of their venues.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832493\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg\" alt=\"Keith Hennessy in 'Crotch'\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-13832493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-798x1200.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/TheLab_Keith-Hennessy.Crotch2.by-Ian-Douglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy in ‘Crotch’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Crotch\u003c/em>\u003c/h3>\n\u003ch4>June 7–9\u003cbr>\nThe Lab, San Francisco\u003cbr>\n\u003ca href=\"https://www.thelab.org/projects/2018/6/7/keith-hennessy-crotch\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/h4>\n\u003cp>Looking for something out of the box? At The Lab, in the Mission District, San Francisco queer performance artist Keith Hennessy dusts off his Bessie award-winning \u003cem>Crotch\u003c/em> for its 10-year anniversary. A powerful and playful work that uses the German Fluxus artist/activist Joseph Beuys as a muse, and combines raw physicality, installation art, a lecture in art history and community ritual, this rare revival will inspire.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832495\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg\" alt=\"Andrew Chung and Marissa Skudlarek, 2017's Shortlived winners, performing 'All the Worlds Are Stages,' written by Ruben Gijalva & directed by Alejandro Torres. \" width=\"800\" height=\"534\" class=\"size-medium wp-image-13832495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/PianoFightSHORTLIVED2017Winners_photoDanielBurke.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Chung and Marissa Skudlarek, 2017’s Shortlived winners, performing ‘All the Worlds Are Stages,’ written by Ruben Gijalva & directed by Alejandro Torres. \u003ccite>(Daniel Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>PianoFight’s Shortlived VII\u003c/h3>\n\u003ch4>June 14–Aug. 25\u003cbr>\nPianoFight’s Main Stage, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-vii/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Can theater-going be as thrilling as a high-stakes sporting match? The fine folks at PianoFight think so, and they’re willing to put up $5,000 to prove it. Attendees at the seventh annual ShortLived competition Thursday-Saturday, from mid-June to the end of August, will cheer 48 competitors into the final round, where the winning play of the year walks away with a $5,000 cash prize and bragging rights for life.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832504\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg\" alt=\"Marga Gomez, who will star in 'King Of Cuba' \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13832504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas-520x342.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/CentralWorks_KingOfCuba_MargaGomezin_Pound_photo_IanDouglas.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez, who will star in ‘King Of Cuba’ \u003ccite>(Ian Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>King of Cuba\u003c/em>\u003c/h3>\n\u003ch4>July 21–Aug. 19\u003cbr>\nBerkeley City Club, Berkeley\u003cbr>\n\u003ca href=\"http://centralworks.org/king-of-cuba/#showtab=details\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>Ushering its 60th world premiere production into the public eye, 27 year-old Central Works presents an adaptation of Cristina García’s (2003) novel \u003cem>King of Cuba\u003c/em>, as adapted by García herself as part of Central Works’ Writer’s Workshop. A comedic speculation of the fate of an aging Cuban dictator, “El Comandante,” and his nemesis Goyo, who plots against him from Miami, this brash imagining stars Bay Area comedy legend Marga Gomez—and Steve Ortiz as her would-be assassin, with live percussion from Havana-born “bongocero” Carlos Caro.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832507\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/AngelsSummer2-800x1200.jpg\" alt=\"Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of 'Angels in America, Part Two: Perestroika.'\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13832507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/AngelsSummer2-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Faridany (The Angel) and Randy Harrison (Prior Walter) in Berkeley Repertory Theatre’s production of ‘Angels in America, Part Two: Perestroika.’ \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Angels in America \u003c/em>\u003c/h3>\n\u003ch4>Through July 22\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1718/12033.asp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>It may have opened in May, but Berkeley Rep’s superlative production of Tony Kushner’s barrier-breaking \u003cem>Angels in America\u003c/em> runs through July 22, making it the summer’s hottest theater pick. Consisting of two epic plays running in repertory, each around three-and-a-half hours long, \u003cem>Angels\u003c/em> is definitely a commitment, but once you start watching, you may never want it to end. In fact, it’s recommended to clear the calendar and see a marathon day of both shows back-to-back (presented mostly on Saturdays). Consider it a mini-vacation to an exotic realm.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832513\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg\" alt=\"Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in 'Seeing Red: A Time-Traveling Musical'\" width=\"800\" height=\"1143\" class=\"size-medium wp-image-13832513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-800x1143.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-1020x1457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-840x1200.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-960x1371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen-520x743.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SFMT_AndreAmarotico_LisaHori-Garcia_MichaelGeneSullivan_KeikoShimosatoCarreiro_photo_DavidAllen.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico, Lisa Hori-Garcia, Michael Gene Sullivan and Keiko Shimosato Carreiro in ‘Seeing Red: A Time-Traveling Musical’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>\u003c/h3>\n\u003ch4>Various Locations\u003cbr>\nThrough Sept. 9\u003cbr>\n\u003ca href=\"http://www.sfmt.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>This summer, declare independence from specious “Independence Day” traditions that glorify war toys and frighten your pets. Then spend a leisurely afternoon with the San Francisco Mime Troupe in Dolores Park, where they open their 59th Season with company member Rotimi Agbabiaka’s \u003cem>Seeing Red: A Time-Traveling Musical\u003c/em>. Like Easter Sunday with the Sisters of Perpetual Indulgence, July 4 with the SFMT is an inclusive, surprisingly family-friendly reminder that the Bay Area is not Kansas, and if we wanna celebrate that most bellicose of American holidays with a comic musical about American socialism, then who’s to say we shouldn’t? (Perhaps the NEA, who pulled the Mime Troupe’s funding this season?) This year, it’s up to us to support them.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13832540\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg\" alt=\"James Ijames\" width=\"800\" height=\"400\" class=\"size-medium wp-image-13832540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/james-ijames-photo-by-kim-carson.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Ijames \u003ccite>(Kim Carson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shotgun Players’ \u003cem>White\u003c/em>\u003c/h3>\n\u003ch4>July 6–Aug. 5\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"https://goo.gl/4shmNu\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>With this West Coast premiere of Pennsylvania-based playwright James Ijames’ provocative comedy about racial identity, cultural appropriation, fine art, and what it means to challenge the gatekeepers, Shotgun Players remains committed to new works with fresh takes on hot topics. In a farce reminiscent of the \u003ca href=\"https://hyperallergic.com/131687/i-amjoe-%20scanlan/\" rel=\"noopener\" target=\"_blank\">Joe Scanlan/Donelle Woolford controversy\u003c/a> at the Whitney Biennial in 2014, \u003cem>White\u003c/em> imagines a scenario in which rising artist Gus (Adam Donovan), a white man, hires Vanessa (Santoya Fields), a black woman, to pretend to be the artist behind his work so he can get into a museum exhibition. What happens next surprises even them, and certainly the audience.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On the Air: Cy, Gabe, and A-lan's Do List Picks for May 11, 2018",
"headTitle": "On the Air: Cy, Gabe, and A-lan’s Do List Picks for May 11, 2018 | KQED",
"content": "\u003cp>I’m joined by two of my favorite co-hosts for this episode of The Do List: KQED Arts’ senior editor Gabe Meline, and Stanford Institute for Diversity in the Arts’ co-chair A-lan Holt. And the biggest reason was so they could hold my hand as I said goodbye to KQED and our listeners.\u003c/p>\n\u003cp>I’m leaving KQED and The Do List for the life of a country bumpkin, in the Sierra Foothills. Emphasis on the bumpkin.\u003c/p>\n\u003cp>It’s been the greatest joy of my life to work here at KQED, and to serve the people, as our late news director Raul Ramirez used to say.\u003c/p>\n\u003cp>The Do List is almost 10 years old, and it’s in good hands with Gabe Meline as our new host, and our new producer, Ashleyanne Krigbaum. They’ll bring fresh energy and voices to the show, while staying true to our mission of helping you, the listener, find great shows and good cheer. We share a love of discovering new talent, and performances that help us understand the world better; that help us be more empathetic; that make us better human beings.\u003c/p>\n\u003cp>Please keep listening and reading. Now here’s our show for this week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 25-May 20: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831746\" target=\"_blank\" rel=\"noopener\">A Suzan-Lori Parks play at the American Conservatory Theater confronts the desperate choices of a slave during the Civil War\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 18:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/topdog/\" target=\"_blank\" rel=\"noopener\">The nomadic Ubuntu Theater presents Suzan-Lori Parks’ Pulitzer Prize-winning \u003cem>Topdog/Underdog\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831765/a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival\" rel=\"noopener\" target=\"_blank\">ODC’s Walking Distance Dance Festival offers an antidote to blandness\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 17 and 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831791/ghost-ensemble-and-the-deep-listening-of-pauline-oliveros\" rel=\"noopener\" target=\"_blank\">Ghost Ensemble makes music for deep, deep listening\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 10-12:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831796/singer-jose-james-channels-bill-withers-on-his-latest-tour\" rel=\"noopener\" target=\"_blank\">José James performs a tribute to the music of the great Bill Withers\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15:\u003c/strong> \u003ca href=\"https://www.cartoonart.org/event/toon-talk-keith-knight-homecoming/\" target=\"_blank\" rel=\"noopener\">Cartoonist Keith Knight delivers a “Toon Talk” at the Cartoon Art Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 13:\u003c/strong> \u003ca href=\"https://www.theindependentsf.com/event/1611925-ezra-furman-san-francisco/\" target=\"_blank\" rel=\"noopener\">On Mother’s Day, Ezra Furman at the Independent in San Francisco, a great songwriter and energetic performer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>May 17:\u003c/strong> \u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">A Conversation about thethe arts and social justice at Stanford’s Cubberley Auditorium with Linda Sarsour\u003c/a>, \u003c/span>\u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Patrisse Cullors\u003c/span>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">Favianna Rodriguez\u003c/span>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cspan style=\"font-weight: 400\">Raquel De Anda\u003c/span>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13831740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg\" alt=\"Stanford's A-lan Holt and KQED's Gabe Meline join Cy Musiker for his final episode as host of The Do List.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13831740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stanford’s A-lan Holt and KQED’s Gabe Meline join Cy Musiker for his final episode as host of The Do List. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-May 20: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831746\" target=\"_blank\" rel=\"noopener\">A Suzan-Lori Parks play at the American Conservatory Theater confronts the desperate choices of a slave during the Civil War\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 18:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/topdog/\" target=\"_blank\" rel=\"noopener\">The nomadic Ubuntu Theater presents Suzan-Lori Parks’ Pulitzer Prize-winning \u003cem>Topdog/Underdog\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831765/a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival\" rel=\"noopener\" target=\"_blank\">ODC’s Walking Distance Dance Festival offers an antidote to blandness\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 17 and 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831791/ghost-ensemble-and-the-deep-listening-of-pauline-oliveros\" rel=\"noopener\" target=\"_blank\">Ghost Ensemble makes music for deep, deep listening\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 10-12:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831796/singer-jose-james-channels-bill-withers-on-his-latest-tour\" rel=\"noopener\" target=\"_blank\">José James performs a tribute to the music of the great Bill Withers\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15:\u003c/strong> \u003ca href=\"https://www.cartoonart.org/event/toon-talk-keith-knight-homecoming/\" target=\"_blank\" rel=\"noopener\">Cartoonist Keith Knight delivers a “Toon Talk” at the Cartoon Art Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 13:\u003c/strong> \u003ca href=\"https://www.theindependentsf.com/event/1611925-ezra-furman-san-francisco/\" target=\"_blank\" rel=\"noopener\">On Mother’s Day, Ezra Furman at the Independent in San Francisco, a great songwriter and energetic performer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>May 17:\u003c/strong> \u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">A Conversation about thethe arts and social justice at Stanford’s Cubberley Auditorium with Linda Sarsour\u003c/a>, \u003c/span>\u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Patrisse Cullors\u003c/span>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">Favianna Rodriguez\u003c/span>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cspan style=\"font-weight: 400\">Raquel De Anda\u003c/span>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13831740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg\" alt=\"Stanford's A-lan Holt and KQED's Gabe Meline join Cy Musiker for his final episode as host of The Do List.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13831740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stanford’s A-lan Holt and KQED’s Gabe Meline join Cy Musiker for his final episode as host of The Do List. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My co-host A-lan Holt, Gabe Meline and I went to see \u003cem>Father Comes Home from The Wars (Parts 1, 2 and 3)\u003c/em> by Suzan-Lori Parks (A-lan’s favorite playwright) last week at the American Conservatory Theater. The play follows the adventures of a slave named Hero (and later, Ulysses), as he chooses whether to join the Confederate Army in the Civil War in return for a promise of freedom. The play mines themes from \u003cem>The Odyssey\u003c/em> and the \u003cem>Mahābhārata\u003c/em>, with fabulous language rich in both free-verse and modern slang.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DntSRDpvOfU\u003c/p>\n\u003cp>As co-host Gabe Meline noted, this was a hell of a play to watch in a week when Kanye West was \u003ca href=\"https://www.kqed.org/pop/103462/what-the-kanye-controversy-can-teach-us-about-black-voters\" target=\"_blank\" rel=\"noopener\">talking about slavery being a choice\u003c/a>.\u003c/p>\n\u003cp>Parks is a very funny writer, but underlying the play is a sense of dread for the fate of slaves caught in a vicious system that offers only the \u003cem>illusion\u003c/em> of choice. \u003cem>Father Comes Home from the Wars (Parts 1, 2, and 3)\u003c/em> continues at the American Conservatory Theater through May 20. \u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/father_comes_home.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>Also, the East Bay’s nomadic Ubuntu Theater offers a chance to go deeper into the Suzan-Lori Parks canon, with her Pulitzer Prize winning \u003cem>Topdog/Underdog\u003c/em> at 4040 4th Street in Berkeley. \u003ca href=\"http://www.ubuntutheaterproject.com/topdog/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pv0da1GCEXs\u003c/p>\n\n",
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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",
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"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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"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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"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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"title": "Magic Theatre’s 'Gangster of Love' Tries to Do Too Much",
"headTitle": "Magic Theatre’s ‘Gangster of Love’ Tries to Do Too Much | KQED",
"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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"description": "On paper, this adaptation of Jessica Hagedorn’s San Francisco-centric novel has the makings of a success, but it's cluttered and unfocused.",
"title": "Magic Theatre’s 'Gangster of Love' Tries to Do Too Much | KQED",
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"headline": "Magic Theatre’s 'Gangster of Love' Tries to Do Too Much",
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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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"title": "'Angels in America' Returns to its Bay Area Birthplace",
"headTitle": "‘Angels in America’ Returns to its Bay Area Birthplace | KQED",
"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",
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"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. 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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. 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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. 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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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