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The music is by San Francisco composer, bassist and bandleader Marcus Shelby, with jazz (and now opera) singer Tiffany Austin playing the part of Tubman, and the full-voiced 23-year-old Christabel Nunoo as eighth grader Modesty.\u003c/p>\n\u003cfigure id=\"attachment_13818878\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg\" alt=\"Jazz bassist Marcus Shelby wrote the score for 'Harriet's Spirit,' a new opera for kids and adults\" width=\"630\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-520x301.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Jazz bassist Marcus Shelby wrote the score for ‘Harriet’s Spirit,’ a new opera for kids and adults. \u003ccite>(Photo: Courtesy of Marcus Shelby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a break at a recent rehearsal, I asked Austin how she approaches playing the iconic pre-Civil War abolitionist and Union spy. “I think about my grandmother,” she said. “My grandmother came up in rural Louisiana. She suffered a lot going through segregation and the violence and discrimination that was happening there. But when my grandmother had her children, and her grandchildren, she had to balance pushing them along with being soft. So that’s the spirit I try to invoke when I deliver these songs. There’s a weight, but also a gentleness to it.”\u003c/p>\n\u003cp>As for the music, “I make sure there’s a grit and some darkness in there with the light,” Austin said.\u003c/p>\n\u003cfigure id=\"attachment_13818876\" class=\"wp-caption aligncenter\" style=\"max-width: 567px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg\" alt=\"Director Erin Neff works with 8th graders from Rooftop Alternative School on a scene from the new opera 'Harriet's Spirit'\" width=\"567\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg 567w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-520x319.jpg 520w\" sizes=\"(max-width: 567px) 100vw, 567px\">\u003cfigcaption class=\"wp-caption-text\">Director Erin Neff works with 8th graders from Rooftop Alternative School work on a scene from the new opera ‘Harriet’s Spirit.’ \u003ccite>(Photo: Courtesy of Opera Parallèle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The libretto is by Roma Olvera, Opera Parallèle’s education director, who said that in writing for Tubman’s voice, she tried to capture her courage — noting how after Tubman escaped to freedom, she returned to the south to free many others. “She said ‘I was free and they should be free,’ Olvera said, quoting Tubman. “So it’s up to us,” Olvera said, “and our inner spirit to free ourselves, and seek people who can help us do that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are only three performances of the opera this time around, on Jan. 18 and 20, but Olvera said the company hopes to expand and re-stage it again. Details \u003ca href=\"https://operaparallele.org/harriets-spirit/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "A new opera conjures Harriet Tubman's spirit as a guide for a bullied middle schooler.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera Parallèle, the little San Francisco company, is presenting the world premiere of a new opera inspired by the life of abolitionist Harriet Tubman.\u003c/p>\n\u003cp>It’s an opera for kids, just 45 minutes long, created with eighth-grade students from San Francisco’s Rooftop Alternative School. But adults might find the music and talented cast equally compelling.\u003c/p>\n\u003cp>\u003cem>Harriet’s Spirit\u003c/em> is about a modern-day middle schooler who learns to stand up to bullies with guidance from the ghost of Tubman. The music is by San Francisco composer, bassist and bandleader Marcus Shelby, with jazz (and now opera) singer Tiffany Austin playing the part of Tubman, and the full-voiced 23-year-old Christabel Nunoo as eighth grader Modesty.\u003c/p>\n\u003cfigure id=\"attachment_13818878\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg\" alt=\"Jazz bassist Marcus Shelby wrote the score for 'Harriet's Spirit,' a new opera for kids and adults\" width=\"630\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-520x301.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Jazz bassist Marcus Shelby wrote the score for ‘Harriet’s Spirit,’ a new opera for kids and adults. \u003ccite>(Photo: Courtesy of Marcus Shelby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a break at a recent rehearsal, I asked Austin how she approaches playing the iconic pre-Civil War abolitionist and Union spy. “I think about my grandmother,” she said. “My grandmother came up in rural Louisiana. She suffered a lot going through segregation and the violence and discrimination that was happening there. But when my grandmother had her children, and her grandchildren, she had to balance pushing them along with being soft. So that’s the spirit I try to invoke when I deliver these songs. There’s a weight, but also a gentleness to it.”\u003c/p>\n\u003cp>As for the music, “I make sure there’s a grit and some darkness in there with the light,” Austin said.\u003c/p>\n\u003cfigure id=\"attachment_13818876\" class=\"wp-caption aligncenter\" style=\"max-width: 567px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg\" alt=\"Director Erin Neff works with 8th graders from Rooftop Alternative School on a scene from the new opera 'Harriet's Spirit'\" width=\"567\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg 567w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-520x319.jpg 520w\" sizes=\"(max-width: 567px) 100vw, 567px\">\u003cfigcaption class=\"wp-caption-text\">Director Erin Neff works with 8th graders from Rooftop Alternative School work on a scene from the new opera ‘Harriet’s Spirit.’ \u003ccite>(Photo: Courtesy of Opera Parallèle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The libretto is by Roma Olvera, Opera Parallèle’s education director, who said that in writing for Tubman’s voice, she tried to capture her courage — noting how after Tubman escaped to freedom, she returned to the south to free many others. “She said ‘I was free and they should be free,’ Olvera said, quoting Tubman. “So it’s up to us,” Olvera said, “and our inner spirit to free ourselves, and seek people who can help us do that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are only three performances of the opera this time around, on Jan. 18 and 20, but Olvera said the company hopes to expand and re-stage it again. Details \u003ca href=\"https://operaparallele.org/harriets-spirit/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, we welcome back co-host and playwright A-lan Holt to begin a new year of The Do List — and we’re championing some smaller arts organizations doing exciting work. They include the Oakland Symphony with a killer program of songs, Opera Parallèle with a production for kids and adults, and Marin’s Alter Theater with two new plays.\u003c/p>\n\u003cp>Thanks so much to our South Bay Arts Reporter Rachael Myrow for filling in for me last week, as I finished a much-needed break. Enjoy the show!\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/a-playlist-to-entice-new-listeners-to-the-oakland-symphony/\" target=\"_blank\" rel=\"noopener\">The Oakland Symphony invites W. Kamau Bell to curate a concert mixing jazz, rock and classical\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12-15\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-colorful-world-of-comic-books-discovers-the-power-of-black/\" target=\"_blank\" rel=\"noopener\">The Black Comix Arts Festival opens just as buzz builds for the Black Panther movie. \u003cem>KAPOW\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>\u003cstrong>Jan. 18 & 20\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/11/an-opera-about-bullying-draws-advice-from-harriet-tubmans-spirit/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle offers a world premiere about Harriet Tubman’s spirit, with music by the Bay Area’s Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we welcome back co-host and playwright A-lan Holt to begin a new year of The Do List — and we’re championing some smaller arts organizations doing exciting work. They include the Oakland Symphony with a killer program of songs, Opera Parallèle with a production for kids and adults, and Marin’s Alter Theater with two new plays.\u003c/p>\n\u003cp>Thanks so much to our South Bay Arts Reporter Rachael Myrow for filling in for me last week, as I finished a much-needed break. Enjoy the show!\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/a-playlist-to-entice-new-listeners-to-the-oakland-symphony/\" target=\"_blank\" rel=\"noopener\">The Oakland Symphony invites W. Kamau Bell to curate a concert mixing jazz, rock and classical\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12-15\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-colorful-world-of-comic-books-discovers-the-power-of-black/\" target=\"_blank\" rel=\"noopener\">The Black Comix Arts Festival opens just as buzz builds for the Black Panther movie. \u003cem>KAPOW\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>\u003cstrong>Jan. 18 & 20\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/11/an-opera-about-bullying-draws-advice-from-harriet-tubmans-spirit/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle offers a world premiere about Harriet Tubman’s spirit, with music by the Bay Area’s Marcus Shelby\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>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My co-host A-lan Holt and I are both fans of young Bay Area playwright Star Finch. She had a terrific show with Campo Santo last year called \u003cem>H.O.M.E. (Hookers on Mars Eventually),\u003c/em> an Afrofuturist play about Oaklanders getting gentrified out of their neighborhoods and moving to Mars.\u003c/p>\n\u003cp>Now, Finch has a new play developed with Marin’s little Alter Theater called \u003cem>Bondage\u003c/em>, an Afro-surreal tale about a mixed-race American slave. Alter Theater artistic director Jeanette Harrison says she was blown away when Finch came into the company’s playwright residency program. “She may be the smartest person I’ve ever been in the room [with],” Harrison told us. “Her use of language is so magical, and powerful, and simple and elegant all at the same time. This is a woman to watch.”\u003c/p>\n\u003cp>A-lan says the play looks to be a haunting piece about betrayal, sex, slavery and what it takes to imagine a new and better world for women of color. Finch’s \u003cem>Bondage\u003c/em> is paired in repertory with Santa Monica resident Larissa Fasthorse’s comedy about the county fair cow pie bingo circuit (that’s a real thing). “The main thing that ties the plays together,” Harrison says, “is these are two amazing women writers, writers of color writing from very specific backgrounds. And both of these plays are about young people who are learning about people who are not like themselves.” \u003ca href=\"https://www.altertheater.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host A-lan Holt and I are both fans of young Bay Area playwright Star Finch. She had a terrific show with Campo Santo last year called \u003cem>H.O.M.E. (Hookers on Mars Eventually),\u003c/em> an Afrofuturist play about Oaklanders getting gentrified out of their neighborhoods and moving to Mars.\u003c/p>\n\u003cp>Now, Finch has a new play developed with Marin’s little Alter Theater called \u003cem>Bondage\u003c/em>, an Afro-surreal tale about a mixed-race American slave. Alter Theater artistic director Jeanette Harrison says she was blown away when Finch came into the company’s playwright residency program. “She may be the smartest person I’ve ever been in the room [with],” Harrison told us. “Her use of language is so magical, and powerful, and simple and elegant all at the same time. This is a woman to watch.”\u003c/p>\n\u003cp>A-lan says the play looks to be a haunting piece about betrayal, sex, slavery and what it takes to imagine a new and better world for women of color. Finch’s \u003cem>Bondage\u003c/em> is paired in repertory with Santa Monica resident Larissa Fasthorse’s comedy about the county fair cow pie bingo circuit (that’s a real thing). “The main thing that ties the plays together,” Harrison says, “is these are two amazing women writers, writers of color writing from very specific backgrounds. And both of these plays are about young people who are learning about people who are not like themselves.” \u003ca href=\"https://www.altertheater.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\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": "\u003cp>Last year, for its 50th anniversary, the Hewlett Foundation announced an ambitious endeavor: \u003ca href=\"https://www.hewlett.org/50commissions/\" rel=\"noopener\" target=\"_blank\">The Hewlett 50 Arts Commissions\u003c/a>, a five-year, $8 million initiative to fund 50 exceptional works of art in various disciplines through 2021. Each year of the initiative is dedicated to a different discipline (last year’s was music) and this year, the foundation is offering 10 separate grants of $150,000 each for projects in theater, musical theater, and spoken word. \u003c/p>\n\u003cp>The catch is that individual artists may not apply; instead, the \u003ca href=\"https://www.hewlett.org/apply-hewlett-50-arts-commission/\" rel=\"noopener\" target=\"_blank\">application\u003c/a> is open to nonprofits in eleven Bay Area counties (Alameda, Contra Costa, Marin, Monterey, Napa, San Francisco, San Mateo, Santa Clara, Santa Cruz, Solano, and Sonoma), who then partner with artists to sponsor their specific projects. The nonprofit — which doesn’t necessarily have to be an arts organization — is responsible for managing the project, commissioning the artist, writing the letter of inquiry required to start the application process, and developing the full proposal if they make it to the second round. The deadline to submit a letter of inquiry is April 20. On Jan. 30, there’s a \u003ca href=\"https://register.gotowebinar.com/register/1880784296410115329\" rel=\"noopener\" target=\"_blank\">webinar\u003c/a> for potential applicants. \u003c/p>\n\u003cp>If 2017’s recipients show us anything, it’s that the Hewlett Foundation prizes works that engage with the social issues of our times. Last year’s \u003ca href=\"https://ww2.kqed.org/arts/2017/11/14/bay-area-artists-receiving-millions-from-two-national-foundations/\" rel=\"noopener\" target=\"_blank\">10 grant recipients\u003c/a> included Terence Blanchard, whom the Kronos Quartet commissioned for a piece on race relations in America; DJ Spooky, who worked with the Internet Archive to create an “acoustic portrait of the internet” incorporating chamber music and digital art; and Huang Ruo, whom the Del Sol String Quartet commissioned to create a bilingual oratorio inspired by the poetry of immigrants detained under the Chinese Exclusion Act. \u003c/p>\n\u003cp>And if you’re not a playwright, director, or spoken word artist? Fear not. The 2019 grant is for dance and multi-discipline performance art; 2020 is slated for folk and traditional arts; and 2021 is dedicated to film and media. \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=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In these end days of the year and perhaps the country, we might ask, just to while away the time, what we want from our American plays.\u003c/p>\n\u003cp>It’s a child’s experiment, really, as there’s no theater imaginable that might save us from the disasters looming before us. Still, we might ask of our American playwrights that they perhaps point out a way, a path to follow that might have escaped our sight, or to paint a sign in the woods that might lead us to a new and secret city on a hill.\u003c/p>\n\u003cp>Here’s a rare group of American plays that did just that in the Bay Area of 2017, giving us a few gentle hints of where others have gone and where we might run.\u003c/p>\n\u003cp>\u003cstrong>6. The Curran Theater, Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817664 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg\" alt=\"Taylor Mac lights up American song in 'A 24-Decade History of Popular Music' at the Curran.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac lights up American song in ‘A 24-Decade History of Popular Music’ at the Curran. \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If America were a 24-hour queer slumber party, then it would be something like \u003ca href=\"https://ww2.kqed.org/arts/2016/10/12/how-i-survived-taylor-macs-24-hour-long-musical-history-lesson/\" rel=\"noopener\" target=\"_blank\">Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/a> — the country’s history at its most unguarded, wacky, and tragic. Mac is an extravagant realist, daring us to experience in full the songs that have marked the history of the nation for over 240 years. It’s an audacious examination and surrender to all the delights and discontents of the simple pleasures of song. Mac knows what we’ve felt and what we’re feeling, and he yanks it all out onto the open stage for everyone to see — with a razor wit and hard-fought joy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>5. The Shotgun Players, William Burroughs and Tom Waits’ \u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in 'The Black Rider' by William Burroughs and Tom Waits.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-520x312.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in ‘The Black Rider’ by William Burroughs and Tom Waits. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Wilson’s production of \u003ca href=\"https://ww2.kqed.org/arts/2017/11/23/shotguns-daring-black-rider-aims-shoots-and-pierces-americas-heart/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Black Rider\u003c/em>\u003c/a> was an international sensation, a lavish valentine to German expressionism, and a lovely artifact of what the lush, extravagant subsidies of European Art House Theater can accomplish. Yet lurking beneath all those Euros was a nasty American attack dog of a play. Director Mark Jackson strips William Burroughs and Tom Waits’ fairy tale of magic bullets down to dime store essentials and subjects us to the logic of a brutal equation — if you love to shoot, you’re aiming to kill. A beautiful and entrancing nightmare for which, unfortunately, there is no antidote. (You can still see the bullets fly in the \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>’ production running through Sunday, Jan. 21.)\u003c/p>\n\u003cp>\u003cstrong>4. Ubuntu Theater Project, Lisa Ramirez’s \u003cem>To The Bone\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg\" alt=\"(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project’s production of ‘To the Bone’ by Lisa Ramirez. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Ramirez’s play about a community of immigrant women working in a poultry preparation facility is an off-key bit of terror. Most of the screams are silent, and the victims more likely to simply vanish than to suffer the fate of the slaughterhouse — though that’s a constant threat, too. The play’s politics might be ripped from the headlines, but Ramirez’s characters are startling for their everyday dreams and concerns. This is what happens in America to all those the law refuses to recognize. And \u003ca href=\"https://ww2.kqed.org/arts/2017/04/05/to-the-bone-explores-workers-lives-outside-the-law/\" rel=\"noopener\" target=\"_blank\">the Ubuntu production\u003c/a>, under Michael Maron’s direction, never lets us escape the awful truth that what we’re really watching is a human preparation facility — as if cutting up chickens wasn’t bad enough.\u003c/p>\n\u003cp>\u003cstrong>3. The Wooster Group, \u003cem>The Town Hall Affair\u003c/em> (at the Z Space)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg\" alt=\"Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in 'Town Hall Affair' by the Wooster Group.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in ‘Town Hall Affair’ by the Wooster Group. \u003ccite>(Photo: Zbigniew Bzymek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wooster Group often finds plays in the garbage heap of history, and \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Town Hall Affair\u003c/em>\u003c/a> is as stunning a dumpster dive into the past as you’re likely to get: an acid-tinged recreation of Norman Mailer’s infamous 1971 state-of-the-woman summit, where the pugilist-minded author opined, bullied, and presided over a panel of feminist luminaries to hilarious effect. The sly Germaine Greer and the erudite Diana Trilling are worthy foils to Mailer, but it is \u003cem>Village Voice\u003c/em> columnist and goofball supreme Jill Johnston who steals the show — and our hearts. In her antic tomfoolery, the Woosters discover a lovely dream of a possible future, one we’re only just beginning to glimpse.\u003c/p>\n\u003cp>\u003cstrong>2. California Shakespeare Theater, Marcus Gardley’s \u003cem>Black Odyssey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg\" alt=\"(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in 'Black Odyssey' by Marcus Gardley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in ‘Black Odyssey’ by Marcus Gardley. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why Shakespeare isn’t a model for American playwrights is a mystery of the field and an odd cultural misstep down the stairs of irrelevance. For now, at least we can marvel at Marcus Gardley’s contemporary twist on the Shakespearian romance, \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\" rel=\"noopener\" target=\"_blank\">\u003cem>Black Odyssey\u003c/em>\u003c/a>, simultaneously a love letter to Oakland, a testament to African-American faith and resilience, and a complex accounting of guilt and innocence. Here is a true epic, where the twists and turns of life keep on revealing what a miracle it is just to hold on and make it through one more day — over 16 long years of struggle. (\u003cem>Black Odyssey\u003c/em> returns to \u003ca href=\"http://www.calshakes.org\">Cal Shakes\u003c/a> for two weeks at the end of next summer.)\u003c/p>\n\u003cp>\u003cstrong>1. Marin Theatre Company, Thomas Bradshaw’s \u003cem>Thomas and Sally\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg\" alt=\"Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Easily 2017’s most controversial and outrageous play, \u003ca href=\"https://ww2.kqed.org/arts/2017/10/12/thomas-and-sally-thomas-bradshaw-marin-theater-company/\" rel=\"noopener\" target=\"_blank\">\u003cem>Thomas and Sally\u003c/em>\u003c/a> (a Marin Theatre Company world premiere) rushes headlong into the shadows and corners of a newly minted America already tainted by its idiot embrace of slavery. Bradshaw’s depiction of the 44-year old Thomas Jefferson’s love affair with his 15-year old slave Sally Hemings is both a bold, grand romance and a wary take on whether love is even possible under those conditions. With a scientist’s eye for the ugly facts of human nature and a touch of Hitchcock’s \u003cem>Vertigo\u003c/em> (Hemings was the half-sister of Jefferson’s dead wife), Bradshaw’s comic epic imagines that we are all the daughters of the revolution — just not the revolution we thought.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In these end days of the year and perhaps the country, we might ask, just to while away the time, what we want from our American plays.\u003c/p>\n\u003cp>It’s a child’s experiment, really, as there’s no theater imaginable that might save us from the disasters looming before us. Still, we might ask of our American playwrights that they perhaps point out a way, a path to follow that might have escaped our sight, or to paint a sign in the woods that might lead us to a new and secret city on a hill.\u003c/p>\n\u003cp>Here’s a rare group of American plays that did just that in the Bay Area of 2017, giving us a few gentle hints of where others have gone and where we might run.\u003c/p>\n\u003cp>\u003cstrong>6. The Curran Theater, Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13817664 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg\" alt=\"Taylor Mac lights up American song in 'A 24-Decade History of Popular Music' at the Curran.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/taylor_mac_act_3-17-e1513570788927-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac lights up American song in ‘A 24-Decade History of Popular Music’ at the Curran. \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If America were a 24-hour queer slumber party, then it would be something like \u003ca href=\"https://ww2.kqed.org/arts/2016/10/12/how-i-survived-taylor-macs-24-hour-long-musical-history-lesson/\" rel=\"noopener\" target=\"_blank\">Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>\u003c/a> — the country’s history at its most unguarded, wacky, and tragic. Mac is an extravagant realist, daring us to experience in full the songs that have marked the history of the nation for over 240 years. It’s an audacious examination and surrender to all the delights and discontents of the simple pleasures of song. Mac knows what we’ve felt and what we’re feeling, and he yanks it all out onto the open stage for everyone to see — with a razor wit and hard-fought joy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>5. The Shotgun Players, William Burroughs and Tom Waits’ \u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in 'The Black Rider' by William Burroughs and Tom Waits.\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847-520x312.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackrider-4896-e1513570964847.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) has an offer of some magic bullets in ‘The Black Rider’ by William Burroughs and Tom Waits. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Wilson’s production of \u003ca href=\"https://ww2.kqed.org/arts/2017/11/23/shotguns-daring-black-rider-aims-shoots-and-pierces-americas-heart/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Black Rider\u003c/em>\u003c/a> was an international sensation, a lavish valentine to German expressionism, and a lovely artifact of what the lush, extravagant subsidies of European Art House Theater can accomplish. Yet lurking beneath all those Euros was a nasty American attack dog of a play. Director Mark Jackson strips William Burroughs and Tom Waits’ fairy tale of magic bullets down to dime store essentials and subjects us to the logic of a brutal equation — if you love to shoot, you’re aiming to kill. A beautiful and entrancing nightmare for which, unfortunately, there is no antidote. (You can still see the bullets fly in the \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Shotgun Players\u003c/a>’ production running through Sunday, Jan. 21.)\u003c/p>\n\u003cp>\u003cstrong>4. Ubuntu Theater Project, Lisa Ramirez’s \u003cem>To The Bone\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg\" alt=\"(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Tothebone1A-e1513571265910-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project’s production of ‘To the Bone’ by Lisa Ramirez. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lisa Ramirez’s play about a community of immigrant women working in a poultry preparation facility is an off-key bit of terror. Most of the screams are silent, and the victims more likely to simply vanish than to suffer the fate of the slaughterhouse — though that’s a constant threat, too. The play’s politics might be ripped from the headlines, but Ramirez’s characters are startling for their everyday dreams and concerns. This is what happens in America to all those the law refuses to recognize. And \u003ca href=\"https://ww2.kqed.org/arts/2017/04/05/to-the-bone-explores-workers-lives-outside-the-law/\" rel=\"noopener\" target=\"_blank\">the Ubuntu production\u003c/a>, under Michael Maron’s direction, never lets us escape the awful truth that what we’re really watching is a human preparation facility — as if cutting up chickens wasn’t bad enough.\u003c/p>\n\u003cp>\u003cstrong>3. The Wooster Group, \u003cem>The Town Hall Affair\u003c/em> (at the Z Space)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg\" alt=\"Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in 'Town Hall Affair' by the Wooster Group.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1513571974674-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jill Johnston (Kate Valk) surveys her desk for clues to a wild evening in ‘Town Hall Affair’ by the Wooster Group. \u003ccite>(Photo: Zbigniew Bzymek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wooster Group often finds plays in the garbage heap of history, and \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer/\" rel=\"noopener\" target=\"_blank\">\u003cem>The Town Hall Affair\u003c/em>\u003c/a> is as stunning a dumpster dive into the past as you’re likely to get: an acid-tinged recreation of Norman Mailer’s infamous 1971 state-of-the-woman summit, where the pugilist-minded author opined, bullied, and presided over a panel of feminist luminaries to hilarious effect. The sly Germaine Greer and the erudite Diana Trilling are worthy foils to Mailer, but it is \u003cem>Village Voice\u003c/em> columnist and goofball supreme Jill Johnston who steals the show — and our hearts. In her antic tomfoolery, the Woosters discover a lovely dream of a possible future, one we’re only just beginning to glimpse.\u003c/p>\n\u003cp>\u003cstrong>2. California Shakespeare Theater, Marcus Gardley’s \u003cem>Black Odyssey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg\" alt=\"(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in 'Black Odyssey' by Marcus Gardley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/blackodyssey4-e1513572353376-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Foreground) Ulysses Lincoln (J. Alphose Nicholson) attempts to control a roiling storm as (L to R) Paw Sidin (Aldo Billingslea) causes trouble for Benevolence (Safiya Fredericks) and ticks off Great Grand Daddy (Lamont Thompson) in ‘Black Odyssey’ by Marcus Gardley. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why Shakespeare isn’t a model for American playwrights is a mystery of the field and an odd cultural misstep down the stairs of irrelevance. For now, at least we can marvel at Marcus Gardley’s contemporary twist on the Shakespearian romance, \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\" rel=\"noopener\" target=\"_blank\">\u003cem>Black Odyssey\u003c/em>\u003c/a>, simultaneously a love letter to Oakland, a testament to African-American faith and resilience, and a complex accounting of guilt and innocence. Here is a true epic, where the twists and turns of life keep on revealing what a miracle it is just to hold on and make it through one more day — over 16 long years of struggle. (\u003cem>Black Odyssey\u003c/em> returns to \u003ca href=\"http://www.calshakes.org\">Cal Shakes\u003c/a> for two weeks at the end of next summer.)\u003c/p>\n\u003cp>\u003cstrong>1. Marin Theatre Company, Thomas Bradshaw’s \u003cem>Thomas and Sally\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13817670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg\" alt=\"Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_TandS_Phillips_Pacheco_HiRes-e1513572783555.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco) start with music and then things get more complex in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Easily 2017’s most controversial and outrageous play, \u003ca href=\"https://ww2.kqed.org/arts/2017/10/12/thomas-and-sally-thomas-bradshaw-marin-theater-company/\" rel=\"noopener\" target=\"_blank\">\u003cem>Thomas and Sally\u003c/em>\u003c/a> (a Marin Theatre Company world premiere) rushes headlong into the shadows and corners of a newly minted America already tainted by its idiot embrace of slavery. Bradshaw’s depiction of the 44-year old Thomas Jefferson’s love affair with his 15-year old slave Sally Hemings is both a bold, grand romance and a wary take on whether love is even possible under those conditions. With a scientist’s eye for the ugly facts of human nature and a touch of Hitchcock’s \u003cem>Vertigo\u003c/em> (Hemings was the half-sister of Jefferson’s dead wife), Bradshaw’s comic epic imagines that we are all the daughters of the revolution — just not the revolution we thought.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Arts administrator and SF State Lecturer Tomás Riley returns as co-host on a show featuring fairy tale miracles, a bluegrass band, and the Mexican American Elvis doing a Christmas show. Miracles happen here. Click through the links below for details.\u003c/p>\n\u003cp>\u003cstrong>Dec 16-23 :\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/this-cinderella-misplaces-a-melody-not-a-glass-slipper/\" rel=\"noopener\" target=\"_blank\">The miracle of San Jose Opera’s new \u003cem>Cinderella\u003c/em>? The composer is just 12 years old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/a-black-girl-positive-cinderella/\" rel=\"noopener\" target=\"_blank\">The African American Shakespeare Company puts on a black-girl-positive version of \u003cem>Cinderella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec 28-31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/aint-nothin-but-a-good-time/\" rel=\"noopener\" target=\"_blank\">The band the Brothers Comatose makes rowdy California bluegrass fun\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 16 and Jan. 20:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/an-american-procession-marching-toward-confrontation/\" rel=\"noopener\" target=\"_blank\">Artists Sandow Birk and Elyse Pignolet’s giant woodblock print is a procession of American heroes from the political right and left\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec 20 and 21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/feliz-navidad-from-the-mexican-elvis/\" rel=\"noopener\" target=\"_blank\">El Vez’s Elvis impersonation goes beyond camp to explore the Mexican-American roots of rock ‘n’ roll\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 20, 30 and Jan 10: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/san-francisco-punk-history-on-film/\" rel=\"noopener\" target=\"_blank\">Revisiting the early days of punk in films from the San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30:\u003c/strong> \u003ca href=\"http://www.teatrovision.org/departera\" target=\"_blank\" rel=\"noopener\">Teatro Visión stages a reading of a new play by poet and actor Evelina Fernández\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-17: \u003c/strong>\u003ca href=\"https://philharmonia.org/2017-2018-season/joseph-and-his-brethren/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents an alternative to the \u003cem>Messiah\u003c/em> for the holidays: Handel’s \u003cem>Joseph and His Brethren\u003c/em>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts administrator and SF State Lecturer Tomás Riley returns as co-host on a show featuring fairy tale miracles, a bluegrass band, and the Mexican American Elvis doing a Christmas show. Miracles happen here. Click through the links below for details.\u003c/p>\n\u003cp>\u003cstrong>Dec 16-23 :\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/this-cinderella-misplaces-a-melody-not-a-glass-slipper/\" rel=\"noopener\" target=\"_blank\">The miracle of San Jose Opera’s new \u003cem>Cinderella\u003c/em>? The composer is just 12 years old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/a-black-girl-positive-cinderella/\" rel=\"noopener\" target=\"_blank\">The African American Shakespeare Company puts on a black-girl-positive version of \u003cem>Cinderella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec 28-31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/aint-nothin-but-a-good-time/\" rel=\"noopener\" target=\"_blank\">The band the Brothers Comatose makes rowdy California bluegrass fun\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 16 and Jan. 20:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/an-american-procession-marching-toward-confrontation/\" rel=\"noopener\" target=\"_blank\">Artists Sandow Birk and Elyse Pignolet’s giant woodblock print is a procession of American heroes from the political right and left\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The culture of the princess is an exacting one, and little girls (and sometimes boys) may feel they’re failing some prettiness contest that their parents didn’t even know they’d entered.\u003c/p>\n\u003cp>That can be especially cruel for black girls, according to African American Shakespeare Company Executive Director Sherri Young, who’s also directing the company’s annual holiday show, \u003cem>Cinderella\u003c/em>. So Young has remade this annual holiday comedy into a black-girl-positive version in which the ball gown is nice, but it’s better for little girls to find their inner strength, prince or no prince.\u003c/p>\n\u003cp>“Because I’ve heard things, like little girls will say, ‘Why am I black?'” Young told me. “‘Can I scrub this color off of my skin? Because the other little girls don’t want me to be a princess. They say I can’t be a princess.’ So it’s important to change these perceptions. And our production actually flips that and gives that empowerment to our young black girls to be proud of themselves.”\u003c/p>\n\u003cp>The timing couldn’t be better, with American mixed-race actress Meghan Markle planning to marry Prince Harry. No doubt about it: he’s marrying up. \u003ca href=\"http://www.african-americanshakes.org/productions/cinderella/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R4LrdJcaHZI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>I’m guessing here, but one of the main reasons \u003cem>A Christmas Carol\u003c/em> and \u003cem>It’s a Wonderful Life\u003c/em> are such great works of art is that their heroes are shattered, and they must put themselves back together in the coldest time of the year. As the days fall shorter in 2017, these classics are a sharp reminder that winter is brutal when your mind is ripped to pieces.\u003c/p>\n\u003cp>And so we should be thankful for Keith Hennessy’s dance-theater-circus shocker, \u003cem>Sink\u003c/em>. It’s full of Christmas spirit — not just a sense of redemption and hope for the future, but also a rage at what the world and we have become. At the Joe Goode Studio until Dec. 9th, it’s not really a holiday show, yet in that grand tradition it confronts injustice with wild bursts of sentimentality and moments of savage beauty and grace. In Hennessy, we have an unlikely and true heir to Dickens and Capra.\u003c/p>\n\u003cp>But before slipping into the world of \u003cem>Sink\u003c/em>, two major holiday shows, \u003cem>A Christmas Story: The Musical\u003c/em> and \u003cem>Shakespeare in Love\u003c/em> opened this week at the SF Playhouse and the Marin Theatre Company. Both shows are based on well-regarded, overrated movies. And both are hindered by a desire to please, rather than taking on the vast and gnarled emotions of the season.\u003c/p>\n\u003ch2>‘A Christmas Story: The Musical’\u003c/h2>\n\u003cfigure id=\"attachment_13816646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg\" alt=\"Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We should all be wary of shows that take the title of a popular property, slap a colon behind it, and announce that it is “The Musical.” Whatever benefits singing might bring to a story, these additions are almost always more about business than art.\u003c/p>\n\u003cp>The story of nine-year-old Ralphie’s desperate and imaginative attempts to get a Red Ryder B.B. gun for Christmas has its charms, especially in the movie’s less hurried and more meandering aesthetic. We’re caught in the whirlwind of a boy’s dreams, willing to go along in his quest that is in many ways as tangled and vexing as Odysseus’ path home. For a child, everything is an epic journey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a case to be made that musical numbers could bring Ralphie’s story to greater life, that the best showtunes catch the split between the vibrant force of dreams and the bitter consolations of reality. The problem is that \u003cem>A Christmas Story: The Musical \u003c/em>isn’t so much interested in Ralphie as it is our memories of the movie about him.\u003c/p>\n\u003cp>The result is a vehicle and production that feels amped up for no discernible reasons. As the narrator, Christopher Reber delivers his lines with a forced jolliness that belies the off-key nature of the material. Ralphie’s simple wish often gets lost in production numbers that are overblown and indifferently staged. Even the ornate set, which includes a slide, seems out of focus, messy, and unfinished.\u003c/p>\n\u003cp>You want the piece and the production to relax, to give us a chance to feel Ralphie’s dreams on our own terms. But \u003cem>Christmas Story: The Musical\u003c/em> has an aggressive spirit that demands that we succumb to its ideas of fun and frivolity. I think even a child might want to resist that.\u003c/p>\n\u003ch2>‘Shakespeare in Love’\u003c/h2>\n\u003cfigure id=\"attachment_13816648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg\" alt=\"William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was always something vaguely distasteful about Harvey Weinstein’s ability to muscle \u003cem>Shakespeare in Love\u003c/em> into a 1999 Best Picture Oscar, and now we can excise the “vaguely” part. The film has high-minded aspirations — Shakespeare, literary trivia, Judi Dench, the noteworthy presence of dramatist and screenwriter Tom Stoppard — but ultimately it’s less a movie to enjoy than to get behind.\u003c/p>\n\u003cp>So it’s a bit of a surprise that there’s some life to Lee Hall’s stage adaption. It’s certainly not the absurd premise, that Shakespeare is suffering from writer’s block while writing the supposedly lost-to-history \u003cem>Romeo and Ethel, The Pirate’s Daughter.\u003c/em> It’s that every once and a while, the backstage drama springs to life, and you get a sense of what it must have felt like to produce a play in the Elizabethan age.\u003c/p>\n\u003cp>Still, those are scant and fleeting pleasures. Our only true sense of what it means to live and experience the era comes from Megan Trout’s constantly surprising and committed performance as Viola de Lesseps, Shakespeare’s love interest and eventual muse (in the play, not reality).\u003c/p>\n\u003cp>Trout hurls herself around the stage with an athlete’s abandon and seems to be acting in an entirely different piece, as if any of this mattered. You feel the spirit of the season in her performance, and at times that’s enough to hold this professional, though uninspired, play and production aloft.\u003c/p>\n\u003cp>Nonetheless, I do wish that considering the Marin Theater Company’s adventurous 2017-18 season (plays by Thomas Bradshaw, Young Jean Lee, and Jordan Harrison), they had challenged our sense of holiday spirit, rather than pandering to its most mundane and well-worn concerns. Why should winter be bereft of ideas and revolution?\u003c/p>\n\u003ch2>‘Sink’\u003c/h2>\n\u003cfigure id=\"attachment_13816644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816644 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg\" alt=\"Keith Hennessy slow dances with himself in 'Sink' at the Joe Goode Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy slow-dances with himself in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keith Hennessey begins ‘Sink’ in a white Robert Cavalli sweatsuit and a goofy blond wig, while slowly dancing on a stool. In voiceover we hear a litany of his ideas, thoughts, and observations — “People who have been surprised by Trump haven’t read the comments section,” “What does it mean that Colin Kaepernick isn’t registered to vote?” It’s at this point that we’re invited — at first 10 volunteers, and then the rest of the audience — to step behind the makeshift curtain into what turns out to be a different kind of world.\u003c/p>\n\u003cp>Curtains are becoming increasingly rare in contemporary theater and dance. When Hennessey asks us to join him on the other side, you wonder both what’s there and what’s been missing — in all these other performances where curtains have vanished.\u003c/p>\n\u003cfigure id=\"attachment_13816642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" class=\"size-medium wp-image-13816642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy jumps and jumps and jumps in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sink\u003c/em> is rather obliquely about the Las Vegas and Orlando mass shootings and, like the beginning of those tragedies, we make a choice: We walk behind a curtain, we enter a space, and we join a community. Among Hennessey’s many strange talents is his ability to talk us into a set of relations, something that feels real and of the world. He explains to us what is happening, makes us comfortable, and only then does he perform.\u003c/p>\n\u003cp>So if you have ever wanted to see a white shadow; the eruption of a pagan god dancing in the air before you; or a man falling through a Christmas tree of deformed disco balls, then \u003cem>Sink\u003c/em> is the gift you need. It is a clarion call for justice, the miracle of surviving, and an amazing journey that embraces a volcano of everyday emotions, especially the ones of December.\u003c/p>\n\u003cp>Here is a winter present worth unwrapping.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sink’ runs through Saturday, Dec. 9, at the Joe Goode Studio in San Francisco. For tickets and information, \u003ca href=\"http://circozero.org/current#/sink/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A Christmas Story: The Musical’ runs through Saturday, Jan. 13, at the SF Playhouse. For tickets and information, \u003ca href=\"https://www.sfplayhouse.org/sfph/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Shakespeare in Love’ runs through Saturday, Dec. 23, at the Marin Theater Company in Mill Valley. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "'A Christmas Story' and 'Shakespeare in Love' hit Bay Area stages this month — but it's Keith Hennessey's 'Sink' that, in 2017, strikes the right holiday spirit.",
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"title": "For the Holidays, Two Plays Adapted From Movies — Plus One Winner | KQED",
"description": "'A Christmas Story' and 'Shakespeare in Love' hit Bay Area stages this month — but it's Keith Hennessey's 'Sink' that, in 2017, strikes the right holiday spirit.",
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"headline": "For the Holidays, Two Plays Adapted From Movies — Plus One Winner",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m guessing here, but one of the main reasons \u003cem>A Christmas Carol\u003c/em> and \u003cem>It’s a Wonderful Life\u003c/em> are such great works of art is that their heroes are shattered, and they must put themselves back together in the coldest time of the year. As the days fall shorter in 2017, these classics are a sharp reminder that winter is brutal when your mind is ripped to pieces.\u003c/p>\n\u003cp>And so we should be thankful for Keith Hennessy’s dance-theater-circus shocker, \u003cem>Sink\u003c/em>. It’s full of Christmas spirit — not just a sense of redemption and hope for the future, but also a rage at what the world and we have become. At the Joe Goode Studio until Dec. 9th, it’s not really a holiday show, yet in that grand tradition it confronts injustice with wild bursts of sentimentality and moments of savage beauty and grace. In Hennessy, we have an unlikely and true heir to Dickens and Capra.\u003c/p>\n\u003cp>But before slipping into the world of \u003cem>Sink\u003c/em>, two major holiday shows, \u003cem>A Christmas Story: The Musical\u003c/em> and \u003cem>Shakespeare in Love\u003c/em> opened this week at the SF Playhouse and the Marin Theatre Company. Both shows are based on well-regarded, overrated movies. And both are hindered by a desire to please, rather than taking on the vast and gnarled emotions of the season.\u003c/p>\n\u003ch2>‘A Christmas Story: The Musical’\u003c/h2>\n\u003cfigure id=\"attachment_13816646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg\" alt=\"Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/048A4958-e1512442952112.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralphie (Jonah Broscow) yearns for a Red Ryder B.B. gun. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We should all be wary of shows that take the title of a popular property, slap a colon behind it, and announce that it is “The Musical.” Whatever benefits singing might bring to a story, these additions are almost always more about business than art.\u003c/p>\n\u003cp>The story of nine-year-old Ralphie’s desperate and imaginative attempts to get a Red Ryder B.B. gun for Christmas has its charms, especially in the movie’s less hurried and more meandering aesthetic. We’re caught in the whirlwind of a boy’s dreams, willing to go along in his quest that is in many ways as tangled and vexing as Odysseus’ path home. For a child, everything is an epic journey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a case to be made that musical numbers could bring Ralphie’s story to greater life, that the best showtunes catch the split between the vibrant force of dreams and the bitter consolations of reality. The problem is that \u003cem>A Christmas Story: The Musical \u003c/em>isn’t so much interested in Ralphie as it is our memories of the movie about him.\u003c/p>\n\u003cp>The result is a vehicle and production that feels amped up for no discernible reasons. As the narrator, Christopher Reber delivers his lines with a forced jolliness that belies the off-key nature of the material. Ralphie’s simple wish often gets lost in production numbers that are overblown and indifferently staged. Even the ornate set, which includes a slide, seems out of focus, messy, and unfinished.\u003c/p>\n\u003cp>You want the piece and the production to relax, to give us a chance to feel Ralphie’s dreams on our own terms. But \u003cem>Christmas Story: The Musical\u003c/em> has an aggressive spirit that demands that we succumb to its ideas of fun and frivolity. I think even a child might want to resist that.\u003c/p>\n\u003ch2>‘Shakespeare in Love’\u003c/h2>\n\u003cfigure id=\"attachment_13816648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816648\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg\" alt=\"William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/MTC_SIL_Magill_Trout_2_HiRes-e1512443728344-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shakespeare (Adam Magill) and Viola de Lessens (Megan Trout) share a love of language and more. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was always something vaguely distasteful about Harvey Weinstein’s ability to muscle \u003cem>Shakespeare in Love\u003c/em> into a 1999 Best Picture Oscar, and now we can excise the “vaguely” part. The film has high-minded aspirations — Shakespeare, literary trivia, Judi Dench, the noteworthy presence of dramatist and screenwriter Tom Stoppard — but ultimately it’s less a movie to enjoy than to get behind.\u003c/p>\n\u003cp>So it’s a bit of a surprise that there’s some life to Lee Hall’s stage adaption. It’s certainly not the absurd premise, that Shakespeare is suffering from writer’s block while writing the supposedly lost-to-history \u003cem>Romeo and Ethel, The Pirate’s Daughter.\u003c/em> It’s that every once and a while, the backstage drama springs to life, and you get a sense of what it must have felt like to produce a play in the Elizabethan age.\u003c/p>\n\u003cp>Still, those are scant and fleeting pleasures. Our only true sense of what it means to live and experience the era comes from Megan Trout’s constantly surprising and committed performance as Viola de Lesseps, Shakespeare’s love interest and eventual muse (in the play, not reality).\u003c/p>\n\u003cp>Trout hurls herself around the stage with an athlete’s abandon and seems to be acting in an entirely different piece, as if any of this mattered. You feel the spirit of the season in her performance, and at times that’s enough to hold this professional, though uninspired, play and production aloft.\u003c/p>\n\u003cp>Nonetheless, I do wish that considering the Marin Theater Company’s adventurous 2017-18 season (plays by Thomas Bradshaw, Young Jean Lee, and Jordan Harrison), they had challenged our sense of holiday spirit, rather than pandering to its most mundane and well-worn concerns. Why should winter be bereft of ideas and revolution?\u003c/p>\n\u003ch2>‘Sink’\u003c/h2>\n\u003cfigure id=\"attachment_13816644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816644 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg\" alt=\"Keith Hennessy slow dances with himself in 'Sink' at the Joe Goode Studio.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink1-e1512442132307-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy slow-dances with himself in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keith Hennessey begins ‘Sink’ in a white Robert Cavalli sweatsuit and a goofy blond wig, while slowly dancing on a stool. In voiceover we hear a litany of his ideas, thoughts, and observations — “People who have been surprised by Trump haven’t read the comments section,” “What does it mean that Colin Kaepernick isn’t registered to vote?” It’s at this point that we’re invited — at first 10 volunteers, and then the rest of the audience — to step behind the makeshift curtain into what turns out to be a different kind of world.\u003c/p>\n\u003cp>Curtains are becoming increasingly rare in contemporary theater and dance. When Hennessey asks us to join him on the other side, you wonder both what’s there and what’s been missing — in all these other performances where curtains have vanished.\u003c/p>\n\u003cfigure id=\"attachment_13816642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" class=\"size-medium wp-image-13816642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Sink4lastimage-e1512441726903-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Hennessy jumps and jumps and jumps in ‘Sink’ at the Joe Goode Studio. \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sink\u003c/em> is rather obliquely about the Las Vegas and Orlando mass shootings and, like the beginning of those tragedies, we make a choice: We walk behind a curtain, we enter a space, and we join a community. Among Hennessey’s many strange talents is his ability to talk us into a set of relations, something that feels real and of the world. He explains to us what is happening, makes us comfortable, and only then does he perform.\u003c/p>\n\u003cp>So if you have ever wanted to see a white shadow; the eruption of a pagan god dancing in the air before you; or a man falling through a Christmas tree of deformed disco balls, then \u003cem>Sink\u003c/em> is the gift you need. It is a clarion call for justice, the miracle of surviving, and an amazing journey that embraces a volcano of everyday emotions, especially the ones of December.\u003c/p>\n\u003cp>Here is a winter present worth unwrapping.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sink’ runs through Saturday, Dec. 9, at the Joe Goode Studio in San Francisco. For tickets and information, \u003ca href=\"http://circozero.org/current#/sink/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A Christmas Story: The Musical’ runs through Saturday, Jan. 13, at the SF Playhouse. For tickets and information, \u003ca href=\"https://www.sfplayhouse.org/sfph/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shakespeare in Love’ runs through Saturday, Dec. 23, at the Marin Theater Company in Mill Valley. For tickets and information, \u003ca href=\"http://www.marintheatre.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>SF Weekly theater critic \u003ca href=\"https://ww2.kqed.org/arts/author/jedalatpour/\" target=\"_blank\" rel=\"noopener\">Jeffrey Edalatpour\u003c/a> is back on the show this week to talk about holiday and counter-holiday plays around the Bay Area. Plus three world premieres from the choreographers Garrett and Moulton, a fire fundraiser at the Schulz Museum, and great indie folk-rock from the Barr Brothers.\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/bright-star-is-a-holiday-play-full-of-bluegrass-cheer/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bright Star\u003c/em> is a post-war fairy tale set in the South, with a lovely score and a breakout performance by Carmen Cusack\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/celebrating-female-joy-in-a-play-from-lauren-gunderson/\" target=\"_blank\" rel=\"noopener\">Playwright Lauren Gunderson spins a tale of romance for the brainy in \u003cem>Miss Bennett: Christmas at Pemberley.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan 14: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-deal-with-the-devil-in-black-rider-what-could-possibly-go-wrong/\" target=\"_blank\" rel=\"noopener\">Making a deal with the devil in \u003cem>The Black Rider\u003c/em>; what could possibly go wrong?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-timeless-watch-against-fascism/\" target=\"_blank\" rel=\"noopener\">\u003cem>Watch on the Rhine\u003c/em> is a timely play about the dangers of not intervening in the fight against fascism.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-16:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/clockwork-dances-revealing-our-human-flaws/\" target=\"_blank\" rel=\"noopener\">Garrett + Moulton make dances that are like Rubik’s Cubes, colorful movement puzzles that snap into perfection.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-jazz-singer-for-all-times/\" target=\"_blank\" rel=\"noopener\">Gregory Porter may look goofy, but his singing is serious and sublime.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-fire-relief-fundraiser-in-comic-strips/\" target=\"_blank\" rel=\"noopener\">The Schulz Museum in Santa Rosa hosts a fundraiser for fire relief with some of the Bay Area’s top graphic artists.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/the-barr-brothers-are-the-pride-of-providence/\" target=\"_blank\" rel=\"noopener\">The Barr Brothers, the pride of Providence R.I, offer a fresh take on indie folk-rock\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13816822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg\" alt=\"KQED's Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017 \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SF Weekly theater critic \u003ca href=\"https://ww2.kqed.org/arts/author/jedalatpour/\" target=\"_blank\" rel=\"noopener\">Jeffrey Edalatpour\u003c/a> is back on the show this week to talk about holiday and counter-holiday plays around the Bay Area. Plus three world premieres from the choreographers Garrett and Moulton, a fire fundraiser at the Schulz Museum, and great indie folk-rock from the Barr Brothers.\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/bright-star-is-a-holiday-play-full-of-bluegrass-cheer/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bright Star\u003c/em> is a post-war fairy tale set in the South, with a lovely score and a breakout performance by Carmen Cusack\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/celebrating-female-joy-in-a-play-from-lauren-gunderson/\" target=\"_blank\" rel=\"noopener\">Playwright Lauren Gunderson spins a tale of romance for the brainy in \u003cem>Miss Bennett: Christmas at Pemberley.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan 14: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-deal-with-the-devil-in-black-rider-what-could-possibly-go-wrong/\" target=\"_blank\" rel=\"noopener\">Making a deal with the devil in \u003cem>The Black Rider\u003c/em>; what could possibly go wrong?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-timeless-watch-against-fascism/\" target=\"_blank\" rel=\"noopener\">\u003cem>Watch on the Rhine\u003c/em> is a timely play about the dangers of not intervening in the fight against fascism.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Lillian Hellman wrote \u003cem>Watch on the Rhine\u003c/em> in 1941, intending it a loud warning to the United States when the country was refusing to join the war against fascism in Europe. As my co-host Jeffrey Edalatpour notes, the political is very personal in this story of an estranged family that reunites (holiday theme), only to find a traitor in their own home. If the play’s preachiness seems dated at times, it’s message about the dangers of inaction against totalitarianism seem very up to date. \u003ca href=\"https://www.berkeleyrep.org/season/1718/12029.asp\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/242823131\u003cbr>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em> is Christmas counter-programming at its best. Based on a bleak German folktale, it tells the story of how Wilhelm makes a deal with the devil to become a hunter and win the hand of his beloved, and how things go wrong from there. As my co-host Jeffrey Edalatpour says, if \u003cem>Bright Star \u003c/em>(at the Curran) is an affirmation of family and marriage, \u003cem>Black Rider\u003c/em> is its infernal opposite: a declaration that the devil’s going to hunt you down. \u003c/p>\n\u003cp>\u003ci>The Black Rider\u003c/i> has a complicated history. Beat-era writer William S. Burroughs wrote the book, Sonoma’s Tom Waits did the songs, and it was staged by avant-garde director Robert Wilson. Mark Jackson directs this Shotgun production as a kind of circus sideshow. The songs are especially striking under the musical guidance of David Möschler of the Awesome Orchestra. And actress Grace Ng is brilliant as Wilhelm — a role that emphasizes her physical and emotional range.\u003ca href=\"https://shotgunplayers.org/online/blackrider\" target=\"_blank\" rel=\"noopener\"> Details here\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/243167571\u003cbr>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 5
},
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