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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s a new recipe: What do you get when you mix circus arts, opera, and theater? The answer is \u003ca href=\"https://circa.org.au/shows/tour-dates/\" rel=\"noopener\" target=\"_blank\">Circa\u003c/a>, the daring Australian circus troupe led by director Yaron Lifschitz, who’s made it his life’s work to see circus acknowledged as a real art form.\u003c/p>\n\u003cp>Circa’s newest show tells the story of \u003cem>The Odyssey\u003c/em>, Homer’s ancient tale of the warrior Ulysses (also known as Odysseus) trying to get home to his son and wife Penelope. Lifschitz mixes the circus with dance and music from Monteverdi’s opera \u003cem>Il Ritorno d’Ulisse in Patria\u003c/em>, performed by a string quartet — and two singers who have to dodge the tumbling performers. Under Lifschitz’s direction, \u003cem>Il Ritorno\u003c/em> is also a story about refugees and their struggle to find a home.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C-3YTjnAMNA'\n title='//www.youtube.com/embed/C-3YTjnAMNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Circa is known for its raw physicality, so members of the troupe sometimes perform despite injuries, and adjust the show as needed. It’s powerful drama that runs Jan. 26 at the Mondavi Center in Davis and Feb. 2 and 3 at Zellerbach Hall in Berkeley. Details \u003ca href=\"https://circa.org.au/shows/tour-dates/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dominique Morisseau has written three plays about her native Detroit. Her most recent features employees at Detroit’s last auto plant with a lot to lose, as the recession hits and auto companies face bankruptcy in 2008.\u003c/p>\n\u003cp>The play got great reviews when it first opened in Detroit, and won an Obie Award after moving to New York City. We got a taste of Morisseau’s work recently: she did the book for the Temptations musical \u003cem>Ain’t Too Proud to Beg\u003c/em>, a hit at Berkeley Rep. That show wasn’t great drama —jukebox musicals are a tough assignment — so I’m far more excited about this production, especially with the talented Margo Hall, Lance Gardner and Tristan Cunningham in the cast.\u003c/p>\n\u003cp>This production also represents a rare collaboration between two regional theater companies. Marin Theatre Company in Mill Valley gets the Bay Area premiere this month, and then Theatreworks in Palo Alto does the show in March. Details for the Marin production (Jan 25–Feb. 18) are \u003ca href=\"http://www.marintheatre.org/productions/skeleton-crew\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Theatreworks (March 7–April 1), look \u003ca href=\"https://theatreworks.org/201718-season/201718-season/skeleton-crew/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/251877952\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Pam MacKinnon, the New York-based, Tony-winning theatre director, has been named the new artistic director for A.C.T., the organization announced today.\u003c/p>\n\u003cp>MacKinnon replaces longtime artistic director Carey Perloff, who will step down after the 2017–18 season after 25 years with A.C.T.\u003c/p>\n\u003cp>A director proficient in the plays of Edward Albee, MacKinnon won the Tony Award for best director for the 2012-13 run of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> at the Booth Theatre. MacKinnon also directed the 2011 Broadway production of \u003cem>Clybourne Park\u003c/em>, by Bruce Norris, garnering a Tony Award nomination for best director yet again.\u003c/p>\n\u003cp>MacKinnon, also an OBIE and Drama Desk award recipient, is known for her unflinching portrayals of the human experience. \u003c/p>\n\u003cp>“I look for fully rounded characters,” MacKinnon \u003ca href=\"https://broadwaydirect.com/women-helm-pam-mackinnon/\" rel=\"noopener\" target=\"_blank\">told Broadway Direct in 2017\u003c/a>. “I want women and men to be portrayed as messy human beings, because that’s the way we go through life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MacKinnon will plan the 2018-2019 season side-by-side with Perloff. “I am eager to build on the company’s rich legacy of artistic excellence and expand the vision and achievements of Carey Perloff, Edward Hastings, and founder William Ball to ensure that A.C.T. remains at the forefront of American theater,” MacKinnon said in a statement. “I look forward to furthering A.C.T. as a creative home for world-class artists and a place of rigorous artistic exploration and commitment in the Bay Area.”\u003c/p>\n\u003cp>MacKinnon will also partner with the heads of A.C.T.’s actor training programs and community programs. \u003c/p>\n\u003cp>Uma Thurman, who is currently starring in Beau Willimon’s \u003cem>The Parisian Woman\u003c/em> on Broadway, directed by MacKinnon, praised A.C.T.’s choice in a short, simple statement.\u003c/p>\n\u003cp>“New York’s loss,” Thurman said in a statement. “Pure gold, Pam MacKinnon, to whom I am forever grateful. Congratulations, San Francisco!”\u003c/p>\n\u003cp>\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>\u003c/p>\n\u003cp>MacKinnon will plan the 2018-2019 season side-by-side with Perloff. “I am eager to build on the company’s rich legacy of artistic excellence and expand the vision and achievements of Carey Perloff, Edward Hastings, and founder William Ball to ensure that A.C.T. remains at the forefront of American theater,” MacKinnon said in a statement. “I look forward to furthering A.C.T. as a creative home for world-class artists and a place of rigorous artistic exploration and commitment in the Bay Area.”\u003c/p>\n\u003cp>MacKinnon will also partner with the heads of A.C.T.’s actor training programs and community programs. \u003c/p>\n\u003cp>Uma Thurman, who is currently starring in Beau Willimon’s \u003cem>The Parisian Woman\u003c/em> on Broadway, directed by MacKinnon, praised A.C.T.’s choice in a short, simple statement.\u003c/p>\n\u003cp>“New York’s loss,” Thurman said in a statement. “Pure gold, Pam MacKinnon, to whom I am forever grateful. Congratulations, San Francisco!”\u003c/p>\n\u003cp>\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\u003c/div>\u003c/p>",
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"title": "‘Bondage’ Unleashes a Destabilizing Force Between Black and White",
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"content": "\u003cp>America sometimes seems an endless conversation between black and white, as if slavery, the Civil War, the emergence of the Klan, the Civil Rights Movement, the southern strategy, Afrofuturism, and the tiki-torch return of white nationalism were one long dance of opposites. That rigid oppositional framing, though, is shaky, and especially in the face, the hair, and the skin of all Americans who slip between black and white.\u003c/p>\n\u003cp>And so part of the pleasure of AlterTheater’s bare-bones, well-acted production of Star Finch’s gothic shocker \u003cem>Bondage\u003c/em>, ably directed by Elizabeth Carter, is the way Finch catches the destabilizing force of simply being neither black nor white. As William Carlos Williams memorably summed it up, “the pure products of America go crazy.”\u003c/p>\n\u003cfigure id=\"attachment_13819307\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819307 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-800x450.jpg\" alt=\"Zuri (Dezi Soléy) is a destabilizing force just by being alive in 'Bondage' by Star Finch.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zuri (Dezi Soléy) is a destabilizing force just by being alive in ‘Bondage’ by Star Finch. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finch places us in an island nether world some time before the Civil War, and begins with the outlines of a simple tale — 13-year old Emily’s father and aunt are trying to find her a suitable husband, though she would rather play with her cousin, Zuri, a mulatta slave and her handmaiden. The play begins with the cousins staring off at the distant sea. Zuri dances a bit, swaying to music of her own making, and Emily wants that too: to move as her cousin moves.\u003c/p>\n\u003cp>It’s a canny take on white desire. Zuri can barely understand Emily’s needs or has any inclination to fulfill them — “There’s nothing to teach,” she offhandedly remarks. Yet we know from a thousand movies that it’s supposedly Zuri’s job to teach her white cousin to dance — \u003ca href=\"http://tvtropes.org/pmwiki/pmwiki.php/Film/SaveTheLastDance\" target=\"_blank\" rel=\"noopener\">that’s the trope\u003c/a>. It’s a risible notion if there ever were one, but one deeply entrenched in the American psyche. Finch doesn’t so much critique the cliché as makes it inoperable.\u003c/p>\n\u003cp>One might describe \u003cem>Bondage\u003c/em> as an unlearning play. Emily, in what she sees as an act of kindness, wishes she could turn her cousin white; Zuri responds, “But my skin is pale now. How much whiter would you wish me?” In her refusal or inability to understand the world around her, Zuri turns everything into an absurdity. That’s part of the brilliance of the play: you can’t help but see our present world as the inhuman result of the craziness she can’t get her mind around.\u003c/p>\n\u003cfigure id=\"attachment_13819304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-800x450.jpg\" alt=\"The hand of Azucar (Cathleen Riddley) tries to protect and silence Zuri (Dezi Soléy) in 'Bondage' by Star Finch.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328.jpg 1602w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The hand of Azucar (Cathleen Riddley) tries to protect and silence Zuri (Dezi Soléy) in ‘Bondage’ by Star Finch. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Emily’s father Phillip looks at Zuri, he’s not only caught in the allure of desires he feels are illicit and enticing — her age (13), her heritage, his daughter’s truest friend — but also a way out of a meaningless life. For him, the indeterminate nature of her race becomes a sign of another way, an escape from limits and the opening up of new possibilities. One of Finch’s slyest jokes in the script is Phillip’s crazy wish to take Zuri to Bombay, where they can be artists together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In late 18th century America, Phillip’s dream is ludicrous, but enticing enough for Zuri to wonder just how real it might be. “What do you think life might be like in Bombay?” she asks Azucar, an older mulatta slave, “Could I pass for one of them [whites]?” In the world Finch creates in \u003cem>Bondage\u003c/em>, it takes a sexual predator to see a way outside injustice and grasp for new ways of thinking and being.\u003c/p>\n\u003cp>Zuri is both too much and not enough of everything. Caught between father and daughter, adult and child, white and black, slave and relative (a cousin that Emily wishes were a sister), she unbalances the world by her mere presence. If you’ve read your gothic titans (the Brontë sisters and Daphne du Maurier), you know that the world, society, and its designated authorities will and must redress that imbalance.\u003c/p>\n\u003cfigure id=\"attachment_13819309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819309\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-800x462.jpg\" alt=\"Azucar (Cathleen Ridley) watches in the background as Aunt Ruby (Emilie Talbot) goes in for the kill in 'Bondage' by Star Finch.\" width=\"800\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-800x462.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-768x444.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-520x300.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269.jpg 1018w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azucar (Cathleen Ridley) watches in the background as Aunt Ruby (Emilie Talbot) goes in for the kill in ‘Bondage’ by Star Finch.\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Bondage\u003c/em> the redressing comes from Emily’s Aunt Ruby — Phillip’s sister-in-law, and, rather obliquely, Zuri’s half-aunt. Both Zuri and Emily’s mothers died under mysterious circumstances, and Aunt Ruby enters the scene as a restoration of the maternal and social order. Only this order is out of control and rule-bound to the point of sadism.\u003c/p>\n\u003cp>Finch has a keen eye for how inbred and savage America’s racial hierarchies are, but she also takes a perverse pleasure in setting up and watching evil take its course. Aunt Ruby is more than an obvious villain: she’s a theatrical wellspring of insidious joy and chaos, and incisively performed by Emilie Talbot. The effect isn’t exactly sympathy for the devil, just sympathy for how difficult the maintenance of injustice is.\u003c/p>\n\u003cfigure id=\"attachment_13819311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-800x451.jpg\" alt=\"Zuri (Dezi Soléy) knows there's only one way to escape in 'Bondage' by Star Finch.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904.jpg 1633w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zuri (Dezi Soléy) knows there’s only one way to escape in ‘Bondage’ by Star Finch.\u003c/figcaption>\u003c/figure>\n\u003cp>At the point Zuri informs Emily that she thinks Aunt Ruby “intends to kill” her, there’s a part of you that says, of course, that would right the books, untangle the mess before us, and give that poor sadistic woman a rest. It’s probably the ugliest of the many ugly thoughts that \u003cem>Bondage \u003c/em>unleashes, and an unsparing depiction of the evil of logic, systems, and rigid forms of racial classification.\u003c/p>\n\u003cp>Though Finch’s ambitious play falters towards the end, Zuri’s story is a vicious and unsettling account of the vast, shifty landscape that is neither black nor white. We might call that landscape America if we could only see it for more than a moment. What we do see, though, is a shock to the system and well worth seeking out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bondage’ runs through Jan. 20 in rep with ‘\u003cem>Cow Pie Bingo\u003c/em>‘ at the Costume Shop in San Francisco. For tickets and information, \u003ca href=\"https://www.altertheater.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Star Finch's story of two cousins in 18th century America is an unsettling account of the vast, shifty landscape that is neither black nor white.",
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"description": "Star Finch's story of two cousins in 18th century America is an unsettling account of the vast, shifty landscape that is neither black nor white.",
"title": "‘Bondage’ Unleashes a Destabilizing Force Between Black and White | KQED",
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"headline": "‘Bondage’ Unleashes a Destabilizing Force Between Black and White",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America sometimes seems an endless conversation between black and white, as if slavery, the Civil War, the emergence of the Klan, the Civil Rights Movement, the southern strategy, Afrofuturism, and the tiki-torch return of white nationalism were one long dance of opposites. That rigid oppositional framing, though, is shaky, and especially in the face, the hair, and the skin of all Americans who slip between black and white.\u003c/p>\n\u003cp>And so part of the pleasure of AlterTheater’s bare-bones, well-acted production of Star Finch’s gothic shocker \u003cem>Bondage\u003c/em>, ably directed by Elizabeth Carter, is the way Finch catches the destabilizing force of simply being neither black nor white. As William Carlos Williams memorably summed it up, “the pure products of America go crazy.”\u003c/p>\n\u003cfigure id=\"attachment_13819307\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819307 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-800x450.jpg\" alt=\"Zuri (Dezi Soléy) is a destabilizing force just by being alive in 'Bondage' by Star Finch.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage2-e1516174576801.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zuri (Dezi Soléy) is a destabilizing force just by being alive in ‘Bondage’ by Star Finch. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finch places us in an island nether world some time before the Civil War, and begins with the outlines of a simple tale — 13-year old Emily’s father and aunt are trying to find her a suitable husband, though she would rather play with her cousin, Zuri, a mulatta slave and her handmaiden. The play begins with the cousins staring off at the distant sea. Zuri dances a bit, swaying to music of her own making, and Emily wants that too: to move as her cousin moves.\u003c/p>\n\u003cp>It’s a canny take on white desire. Zuri can barely understand Emily’s needs or has any inclination to fulfill them — “There’s nothing to teach,” she offhandedly remarks. Yet we know from a thousand movies that it’s supposedly Zuri’s job to teach her white cousin to dance — \u003ca href=\"http://tvtropes.org/pmwiki/pmwiki.php/Film/SaveTheLastDance\" target=\"_blank\" rel=\"noopener\">that’s the trope\u003c/a>. It’s a risible notion if there ever were one, but one deeply entrenched in the American psyche. Finch doesn’t so much critique the cliché as makes it inoperable.\u003c/p>\n\u003cp>One might describe \u003cem>Bondage\u003c/em> as an unlearning play. Emily, in what she sees as an act of kindness, wishes she could turn her cousin white; Zuri responds, “But my skin is pale now. How much whiter would you wish me?” In her refusal or inability to understand the world around her, Zuri turns everything into an absurdity. That’s part of the brilliance of the play: you can’t help but see our present world as the inhuman result of the craziness she can’t get her mind around.\u003c/p>\n\u003cfigure id=\"attachment_13819304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-800x450.jpg\" alt=\"The hand of Azucar (Cathleen Riddley) tries to protect and silence Zuri (Dezi Soléy) in 'Bondage' by Star Finch.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage1-e1516173777328.jpg 1602w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The hand of Azucar (Cathleen Riddley) tries to protect and silence Zuri (Dezi Soléy) in ‘Bondage’ by Star Finch. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Emily’s father Phillip looks at Zuri, he’s not only caught in the allure of desires he feels are illicit and enticing — her age (13), her heritage, his daughter’s truest friend — but also a way out of a meaningless life. For him, the indeterminate nature of her race becomes a sign of another way, an escape from limits and the opening up of new possibilities. One of Finch’s slyest jokes in the script is Phillip’s crazy wish to take Zuri to Bombay, where they can be artists together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In late 18th century America, Phillip’s dream is ludicrous, but enticing enough for Zuri to wonder just how real it might be. “What do you think life might be like in Bombay?” she asks Azucar, an older mulatta slave, “Could I pass for one of them [whites]?” In the world Finch creates in \u003cem>Bondage\u003c/em>, it takes a sexual predator to see a way outside injustice and grasp for new ways of thinking and being.\u003c/p>\n\u003cp>Zuri is both too much and not enough of everything. Caught between father and daughter, adult and child, white and black, slave and relative (a cousin that Emily wishes were a sister), she unbalances the world by her mere presence. If you’ve read your gothic titans (the Brontë sisters and Daphne du Maurier), you know that the world, society, and its designated authorities will and must redress that imbalance.\u003c/p>\n\u003cfigure id=\"attachment_13819309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819309\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-800x462.jpg\" alt=\"Azucar (Cathleen Ridley) watches in the background as Aunt Ruby (Emilie Talbot) goes in for the kill in 'Bondage' by Star Finch.\" width=\"800\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-800x462.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-768x444.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269-520x300.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage6-e1516174930269.jpg 1018w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azucar (Cathleen Ridley) watches in the background as Aunt Ruby (Emilie Talbot) goes in for the kill in ‘Bondage’ by Star Finch.\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Bondage\u003c/em> the redressing comes from Emily’s Aunt Ruby — Phillip’s sister-in-law, and, rather obliquely, Zuri’s half-aunt. Both Zuri and Emily’s mothers died under mysterious circumstances, and Aunt Ruby enters the scene as a restoration of the maternal and social order. Only this order is out of control and rule-bound to the point of sadism.\u003c/p>\n\u003cp>Finch has a keen eye for how inbred and savage America’s racial hierarchies are, but she also takes a perverse pleasure in setting up and watching evil take its course. Aunt Ruby is more than an obvious villain: she’s a theatrical wellspring of insidious joy and chaos, and incisively performed by Emilie Talbot. The effect isn’t exactly sympathy for the devil, just sympathy for how difficult the maintenance of injustice is.\u003c/p>\n\u003cfigure id=\"attachment_13819311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-800x451.jpg\" alt=\"Zuri (Dezi Soléy) knows there's only one way to escape in 'Bondage' by Star Finch.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Bondage3-e1516176085904.jpg 1633w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zuri (Dezi Soléy) knows there’s only one way to escape in ‘Bondage’ by Star Finch.\u003c/figcaption>\u003c/figure>\n\u003cp>At the point Zuri informs Emily that she thinks Aunt Ruby “intends to kill” her, there’s a part of you that says, of course, that would right the books, untangle the mess before us, and give that poor sadistic woman a rest. It’s probably the ugliest of the many ugly thoughts that \u003cem>Bondage \u003c/em>unleashes, and an unsparing depiction of the evil of logic, systems, and rigid forms of racial classification.\u003c/p>\n\u003cp>Though Finch’s ambitious play falters towards the end, Zuri’s story is a vicious and unsettling account of the vast, shifty landscape that is neither black nor white. We might call that landscape America if we could only see it for more than a moment. What we do see, though, is a shock to the system and well worth seeking out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bondage’ runs through Jan. 20 in rep with ‘\u003cem>Cow Pie Bingo\u003c/em>‘ at the Costume Shop in San Francisco. For tickets and information, \u003ca href=\"https://www.altertheater.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\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>[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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"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": "\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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"excerpt": "Applications for $150,000 grants in theater, musical theater, and spoken word are open. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"excerpt": "Here’s a rare group of American plays that, as disaster loomed, pointed us toward a new and secret city on a hill.",
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"title": "The Best Bay Area Theater of 2017 | KQED",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"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.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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