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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley composer John Adams and director/writer Peter Sellars are old hands at opera as contemporary history, including \u003cem>Nixon in China\u003c/em>, \u003cem>The Death of Klinghoffer\u003c/em> and \u003cem>Doctor Atomic.\u003c/em> Now they’re looking further back in time, to the California gold rush, in the world premiere of \u003cem>Girls of the Golden West\u003c/em> at San Francisco Opera. This is a revisionist history of the era that focuses on the wives and the prostitutes in the gold camps, the wagon driver who’s a runaway slave, the Californians who lost everything when the US annexed the state, plus stories about vigilante injustice and racism. Sellars has drawn the libretto from historical sources, and he told me certainly it’s a story about the past, but also the present. \u003c/p>\n\u003cp>“We’re here in a new gold rush in Silicon Valley,” Sellars said, “with astounding fortunes made overnight. And meanwhile, the politics of who has how much citizenship, and how economic participation has been organized, all those things are completely to the point of the moment.”\u003c/p>\n\u003cp>My co-host Jamedra Brown Fleischman wondered if it would be appropriate to wear a pussy hat to see this show. I think Adams and Sellars would say that was the perfect headgear, even at the San Francisco Opera. \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I didn’t see \u003cem>Aladdin,\u003c/em> the touring version of Disney’s Broadway musical adaptation of the animated musical, but my co-host Jamedra Brown Fleischman went. She says that despite her strong dislike for musicals and concerns about a show which still raises the hackles of Arab-Americans over the movie’s fake Orientalism, she was pleasantly surprised. The lavish sets and costumes made for satisfying eye-candy while fans of the original film (in which Robin Williams stole the show as the genie), will have a great time singing along to songs (Alan Menken, Howard Ashman, Tim Rice and Chad Beguelin), they didn’t know they still remember. If you like confetti showers, she says, she can recommend the show. The show runs at SHN Orpheum Theatre until Jan. 7, 2018; \u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=4DCD751E-9952-495C-9734-1491C7323B5C\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "In 'Circus Veritas,' Sly, Dazzling Deceit Takes Center Ring",
"headTitle": "In ‘Circus Veritas,’ Sly, Dazzling Deceit Takes Center Ring | KQED",
"content": "\u003cp>I’m not even sure what a circus is anymore. Though they always seem to involve some kind of physical daring and a strange, drifty sense of humor, their snappy one-liners get lost in the big top — or, in the case of the Kinetic Arts’ annual holiday show, \u003cem>Circus Veritas\u003c/em>, the rather large warehouse. What I \u003cem>am\u003c/em> sure of is that whatever the circus is in 2017, Kinetic Arts has found a way to its slippery soul.\u003c/p>\n\u003cp>Under Jaron Hollander’s inventive direction, the company’s productions are more about a state of mind than mind-boggling stunts. There are many feats, some of them verging on the spectacular, but they occur in the service of conveying the aspirations and failures of people. We aren’t watching acrobats and contortionists, but vain, silly, headlong characters who fly through the air in nutty poses, and often for all the wrong reasons.\u003c/p>\n\u003cp>The show’s emcee, Frank Conner Ponzi III (a sly Ross Travis), starts the evening by simply talking to the audience, a calming approach in a world overcome by spectacle and sensation. He’s one of these southern hucksters, halfway between a minister and a snake-oil salesman, and his con is so obvious that it’s comforting rather than menacing.\u003c/p>\n\u003cfigure id=\"attachment_13813903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813903\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-800x448.jpg\" alt=\"Jane Doe (Emily Rose Phillips) hangs onto Frank Conner Ponzi III (Ross Tavis) rather high up in the air in 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-1180x660.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305.jpg 1558w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Doe (Emily Rose Phillips) hangs onto Frank Conner Ponzi III (Ross Tavis) rather high up in the air in ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ponzi III tries to sell a special seat for $100, plies the audience for volunteers, and promises to help us overcome the “evil snake of reality.” The atmosphere is casual, intimate, and jokey, though by the end, this afterthought of a beginning will approach something close to a philosophy.\u003c/p>\n\u003cp>When the cast appears in monk costumes and wanders through the audience asking, “My name is John the Baptist, who are you?” (or the “Easter Bunny,” or “Peanut Butter and Jelly,” or “Mary Poppins” or “A music box ballerina”), the whole piece has the feel of a fairytale world springing to life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then and only then do we get anything close to a typical circus act, as the gang suddenly jumps, flips, and artfully stumbles around a hole in the ground. And then a hole on the move. And finally a hole in the air. The effect is magical, and the magic is the product of not just skill, but also of situation.\u003c/p>\n\u003cp>Over and over again, the show slips from the ordinary to sudden and breathtaking displays of athleticism and imagination. Popcorn (Ellie Rossi) flips off a T-shirt to climb a rope and gets hopelessly entangled in it. Every time she seems to escape the shirt’s clutches, she somehow manages to get further twisted in its vise grip. It’s as if we can never shake the mundane and petty, no matter how lofty our dreams.\u003c/p>\n\u003cfigure id=\"attachment_13813908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVcaughtinair-e1510014993686-800x450.jpg\" alt=\"Popcorn (Ellie Rossi) starts to feel that this particular stunt isn't going her way in 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Popcorn (Ellie Rossi) starts to feel that this particular stunt isn’t going her way in ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gloria (Katherine Hutchinson) pretentiously announces that she is a liar and has dedicated her life to ballet. Following her, Jane Doe (Emily Rose Phillips) announces that she is also a liar, also named Gloria, and has also dedicated her life to ballet. In response, Gloria scurries up a blue silk rope at least 30 feet into the air to show off her talents in peace. Doe then hurriedly sets up a blue silk rope, scurries up to her rival, and attempts to mimic and surpass Gloria’s every maneuver.\u003c/p>\n\u003cp>The pleasure these two fools take in outdoing the other is so human and ordinary that you forget that they’re flipping, twirling, and jousting at a ridiculous height and without a net. The individual act of the circus becomes a drama of idiots; rather than their freakish abilities setting them apart, every bit of goofball daring brings them closer to us.\u003c/p>\n\u003cp>This has an interesting effect. Awe, the typical provenance of the circus, is cast aside for a sense of complicity and identification. And that allows for the performance to veer off in shifty, strange directions. There’s a terrific set piece in the second act that begins with Ponzi III announcing, “This is the part where we break character and really talk to you.”\u003c/p>\n\u003cfigure id=\"attachment_13813901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-800x450.jpg\" alt=\"Frank Conner Ponzi III (Ross Travis) begins a confession session with the cast of 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Conner Ponzi III (Ross Travis) begins a confession session with the cast of ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And one after one, the cast speaks delicately into a microphone, emulating the hushed voice of liberal piety. “I grew up with so much privilege I had to court pain and misery to achieve artistic relevance.” “I couldn’t get my Chinese acrobatic coach to beat me and so I had to do it myself.” “I gave up skiing and horseback riding so I could excel at ballet.” It’s as if we’ve been suddenly thrust into a Bay Area dinner party where rich leftists compete for “Most Traumatic Life Story.”\u003c/p>\n\u003cp>\u003cem>Circus Veritas\u003c/em> imagines a world where everything is a kind of lie, even the most skillful performances, or maybe especially those. And so it’s shocking to think that all these moments of true daring are the product of nothing more than the most everyday of human concerns — to be greater than we are, to lord it over others, to fight for the briefest moment of any kind of transcendence. And to embrace the deceit that gets us there.\u003c/p>\n\u003cp>This is tricky and liberating holiday fare.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Circus Veritas’ runs through Sunday, Dec. 17, at the Kinetic Arts Center in Oakland. For tickets and information, \u003ca href=\"http://www.kineticartsproductions.com/\" rel=\"noopener\" target=\"_blank\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m not even sure what a circus is anymore. Though they always seem to involve some kind of physical daring and a strange, drifty sense of humor, their snappy one-liners get lost in the big top — or, in the case of the Kinetic Arts’ annual holiday show, \u003cem>Circus Veritas\u003c/em>, the rather large warehouse. What I \u003cem>am\u003c/em> sure of is that whatever the circus is in 2017, Kinetic Arts has found a way to its slippery soul.\u003c/p>\n\u003cp>Under Jaron Hollander’s inventive direction, the company’s productions are more about a state of mind than mind-boggling stunts. There are many feats, some of them verging on the spectacular, but they occur in the service of conveying the aspirations and failures of people. We aren’t watching acrobats and contortionists, but vain, silly, headlong characters who fly through the air in nutty poses, and often for all the wrong reasons.\u003c/p>\n\u003cp>The show’s emcee, Frank Conner Ponzi III (a sly Ross Travis), starts the evening by simply talking to the audience, a calming approach in a world overcome by spectacle and sensation. He’s one of these southern hucksters, halfway between a minister and a snake-oil salesman, and his con is so obvious that it’s comforting rather than menacing.\u003c/p>\n\u003cfigure id=\"attachment_13813903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813903\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-800x448.jpg\" alt=\"Jane Doe (Emily Rose Phillips) hangs onto Frank Conner Ponzi III (Ross Tavis) rather high up in the air in 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-1180x660.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305.jpg 1558w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Doe (Emily Rose Phillips) hangs onto Frank Conner Ponzi III (Ross Tavis) rather high up in the air in ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ponzi III tries to sell a special seat for $100, plies the audience for volunteers, and promises to help us overcome the “evil snake of reality.” The atmosphere is casual, intimate, and jokey, though by the end, this afterthought of a beginning will approach something close to a philosophy.\u003c/p>\n\u003cp>When the cast appears in monk costumes and wanders through the audience asking, “My name is John the Baptist, who are you?” (or the “Easter Bunny,” or “Peanut Butter and Jelly,” or “Mary Poppins” or “A music box ballerina”), the whole piece has the feel of a fairytale world springing to life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then and only then do we get anything close to a typical circus act, as the gang suddenly jumps, flips, and artfully stumbles around a hole in the ground. And then a hole on the move. And finally a hole in the air. The effect is magical, and the magic is the product of not just skill, but also of situation.\u003c/p>\n\u003cp>Over and over again, the show slips from the ordinary to sudden and breathtaking displays of athleticism and imagination. Popcorn (Ellie Rossi) flips off a T-shirt to climb a rope and gets hopelessly entangled in it. Every time she seems to escape the shirt’s clutches, she somehow manages to get further twisted in its vise grip. It’s as if we can never shake the mundane and petty, no matter how lofty our dreams.\u003c/p>\n\u003cfigure id=\"attachment_13813908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVcaughtinair-e1510014993686-800x450.jpg\" alt=\"Popcorn (Ellie Rossi) starts to feel that this particular stunt isn't going her way in 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Popcorn (Ellie Rossi) starts to feel that this particular stunt isn’t going her way in ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gloria (Katherine Hutchinson) pretentiously announces that she is a liar and has dedicated her life to ballet. Following her, Jane Doe (Emily Rose Phillips) announces that she is also a liar, also named Gloria, and has also dedicated her life to ballet. In response, Gloria scurries up a blue silk rope at least 30 feet into the air to show off her talents in peace. Doe then hurriedly sets up a blue silk rope, scurries up to her rival, and attempts to mimic and surpass Gloria’s every maneuver.\u003c/p>\n\u003cp>The pleasure these two fools take in outdoing the other is so human and ordinary that you forget that they’re flipping, twirling, and jousting at a ridiculous height and without a net. The individual act of the circus becomes a drama of idiots; rather than their freakish abilities setting them apart, every bit of goofball daring brings them closer to us.\u003c/p>\n\u003cp>This has an interesting effect. Awe, the typical provenance of the circus, is cast aside for a sense of complicity and identification. And that allows for the performance to veer off in shifty, strange directions. There’s a terrific set piece in the second act that begins with Ponzi III announcing, “This is the part where we break character and really talk to you.”\u003c/p>\n\u003cfigure id=\"attachment_13813901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-800x450.jpg\" alt=\"Frank Conner Ponzi III (Ross Travis) begins a confession session with the cast of 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Conner Ponzi III (Ross Travis) begins a confession session with the cast of ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And one after one, the cast speaks delicately into a microphone, emulating the hushed voice of liberal piety. “I grew up with so much privilege I had to court pain and misery to achieve artistic relevance.” “I couldn’t get my Chinese acrobatic coach to beat me and so I had to do it myself.” “I gave up skiing and horseback riding so I could excel at ballet.” It’s as if we’ve been suddenly thrust into a Bay Area dinner party where rich leftists compete for “Most Traumatic Life Story.”\u003c/p>\n\u003cp>\u003cem>Circus Veritas\u003c/em> imagines a world where everything is a kind of lie, even the most skillful performances, or maybe especially those. And so it’s shocking to think that all these moments of true daring are the product of nothing more than the most everyday of human concerns — to be greater than we are, to lord it over others, to fight for the briefest moment of any kind of transcendence. And to embrace the deceit that gets us there.\u003c/p>\n\u003cp>This is tricky and liberating holiday fare.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Circus Veritas’ runs through Sunday, Dec. 17, at the Kinetic Arts Center in Oakland. For tickets and information, \u003ca href=\"http://www.kineticartsproductions.com/\" rel=\"noopener\" target=\"_blank\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week we’re featuring a number of museum and gallery shows worth taking in now or during the holidays, when we all have a bit more time to get out and possibly need to escape our families. My co-host KQED Arts Editor Sarah Hotchkiss is the perfect guide for this endeavor, as she frequently escapes to local art exhibits.\u003c/p>\n\u003cp>Plus we talk about a country music ballet, an anniversary music festival and North Bay fire benefits.\u003c/p>\n\u003cp>\u003cstrong>Ongoing:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXGh\" target=\"_blank\" rel=\"noopener\"> Our favorite museum shows for the holidays\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 16-18:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXGb\" target=\"_blank\" rel=\"noopener\">The Del Sol Quartet celebrates 25 years with world premieres and an audience ukulele choir\u003c/a>\u003c/p>\n\u003cp>Nov. 17-18: \u003ca href=\"https://wp.me/p4oi3Y-VXGW\" target=\"_blank\" rel=\"noopener\">Post:Ballet sets a dance to music by America’s first gay country band, Lavender Country\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nov. 12: \u003ca href=\"https://wp.me/p4oi3Y-VXGA\" target=\"_blank\" rel=\"noopener\">Signs of normalcy at Sonoma’s Gundlach Bundschu, a winery touched by the North Bay Fires\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"http://www.slimspresents.com/event/fire-relief-benefit-show-featuring-rupa-and-the-april-fishes-slims-w-the-sam-chase-down-dirty-shake-presented-by-seaweed-sway-friends/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes andThe Sam Chase in a benefit for North Bay Fire relief\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\" target=\"_blank\" rel=\"noopener\">The San Francisco Symphony schedules a special benefit concert for North Bay Fire Relief\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week we’re featuring a number of museum and gallery shows worth taking in now or during the holidays, when we all have a bit more time to get out and possibly need to escape our families. My co-host KQED Arts Editor Sarah Hotchkiss is the perfect guide for this endeavor, as she frequently escapes to local art exhibits.\u003c/p>\n\u003cp>Plus we talk about a country music ballet, an anniversary music festival and North Bay fire benefits.\u003c/p>\n\u003cp>\u003cstrong>Ongoing:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXGh\" target=\"_blank\" rel=\"noopener\"> Our favorite museum shows for the holidays\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 16-18:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXGb\" target=\"_blank\" rel=\"noopener\">The Del Sol Quartet celebrates 25 years with world premieres and an audience ukulele choir\u003c/a>\u003c/p>\n\u003cp>Nov. 17-18: \u003ca href=\"https://wp.me/p4oi3Y-VXGW\" target=\"_blank\" rel=\"noopener\">Post:Ballet sets a dance to music by America’s first gay country band, Lavender Country\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nov. 12: \u003ca href=\"https://wp.me/p4oi3Y-VXGA\" target=\"_blank\" rel=\"noopener\">Signs of normalcy at Sonoma’s Gundlach Bundschu, a winery touched by the North Bay Fires\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"http://www.slimspresents.com/event/fire-relief-benefit-show-featuring-rupa-and-the-april-fishes-slims-w-the-sam-chase-down-dirty-shake-presented-by-seaweed-sway-friends/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes andThe Sam Chase in a benefit for North Bay Fire relief\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\" target=\"_blank\" rel=\"noopener\">The San Francisco Symphony schedules a special benefit concert for North Bay Fire Relief\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R4zu3TegSFI'\n title='//www.youtube.com/embed/R4zu3TegSFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"slug": "hamilton-ponzi-schemer-strikes-plea-deal-over-95m-fraud-charge",
"title": "'Hamilton' Ponzi Schemer Strikes Plea Deal Over $95M Fraud Charge",
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"content": "\u003cp>Joseph Meli, accused of defrauding some 130 investors of some $95 million in a scheme framed as the resale of tickets to \u003cem>Hamilton\u003c/em> and other events, pleaded guilty Tuesday to one count of securities fraud. Previously he had entered a plea of not guilty to five counts of fraud and conspiracy.\u003c/p>\n\u003cp>Meli and two associates \u003ca href=\"https://www.justice.gov/usao-sdny/pr/manhattan-man-pleads-guilty-participating-multimillion-dollar-securities-fraud-scheme\" target=\"_blank\" rel=\"noopener\">claimed\u003c/a> to investors that they had a relationship with the producer of \u003cem>Hamilton\u003c/em> and could purchase tickets in bulk to the Broadway smash and other popular attractions, and resell them on the secondary market for a tidy profit. Following the classic structure of a \u003ca href=\"https://www.bloomberg.com/news/articles/2017-10-31/manhattan-man-pleads-guilty-in-hamilton-ticket-ponzi-scheme\" target=\"_blank\" rel=\"noopener\">Ponzi scheme\u003c/a>, Melli and his associates — including Steven Simmons, who \u003ca href=\"http://www.reuters.com/article/us-usa-crime-ponzi-hamilton/connecticut-man-pleads-guilty-to-ponzi-like-hedge-fund-scheme-idUSKBN1CZ2L0\">pleaded guilty\u003c/a> on Monday — would pay off older investors with the investments of new ones.\u003c/p>\n\u003cp>Meli faced 85 years in prison and tens of millions of dollars in fines if he received the maximum sentence on each of the five charges.\u003c/p>\n\u003cp>The plea agreement came eight days after the filing of a motion by his attorney accusing the government of gathering some of the information for its case in a way that violated New York’s Rules of Professional Conduct.\u003c/p>\n\u003cp>Meli now faces a reduced sentence, scheduled to be handed down in January, of between six-and-a-half and just over eight years — along with a fine between $25,000 and the $5 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meli’s attorney, Dan Fetterman, accused the government of using its confidential witness in the case to elicit “a series of rambling, contradictory statements” from Meli, in the absence of his attorney. In his motion Fetterman writes the tactic violated the Rules of Professional Conduct, as noted by\u003cem> \u003c/em>\u003ca href=\"http://www.hollywoodreporter.com/thr-esq/alleged-hamilton-ponzi-schemer-gets-plea-deal-accusing-government-misconduct-1053299\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>The office of the U.S. Attorney for the Southern District of New York declined a request for more information, but did issue \u003ca href=\"https://www.justice.gov/usao-sdny/pr/manhattan-man-pleads-guilty-participating-multimillion-dollar-securities-fraud-scheme\" target=\"_blank\" rel=\"noopener\">a press release\u003c/a> on Meli’s plea.\u003c/p>\n\u003cp>“Mr. Meli is pleased that the United States Attorney’s Office for the Southern District of New York has agreed to dismiss the charges against him concerning the Sentinel Ponzi scheme,” Fetterman says in a statement provided to NPR, “and he looks forward to putting the case involving his ticket reselling business behind him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The industry which allowed Meli to defraud his investors — secondary ticketing, or “scalping” in the states and “touting” in the U.K. — is a contentious one, even when massive fraud isn’t in the picture. Ticketmaster, the world’s largest ticket-selling company, has its own subsidiary, TicketsNow, which allows customers to resell their tickets. The U.K.’s Department of Media, Culture and Sport announced a \u003ca href=\"https://www.theguardian.com/money/2017/mar/10/ministers-to-criminalise-use-of-ticket-tout-harvesting-software\" target=\"_blank\" rel=\"noopener\">package of regulations\u003c/a> earlier this year to rein in the practice. At its root are “bots,” automated computer programs which can sweep up swaths of seats to events at face value, allowing the owner of the bot to resell them for a profit. While the U.K. has no rules on ticket resales, many states in the U.S. do not allow the resale of tickets for prices higher than face value. But not all — Minnesota, for example, legalized resales \u003ca href=\"http://www.startribune.com/fans-burned-by-ticket-scalping/385044751/\" target=\"_blank\" rel=\"noopener\">in 2007\u003c/a>, which led to what the \u003cem>Star Tribune\u003c/em> called a “ticketing epidemic” in the state. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Accused+Of+%2495+Million+Fraud%2C+%27Hamilton%27+Ponzi+Schemer+Strikes+A+Plea+Agreement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joseph Meli, accused of defrauding some 130 investors of some $95 million in a scheme framed as the resale of tickets to \u003cem>Hamilton\u003c/em> and other events, pleaded guilty Tuesday to one count of securities fraud. Previously he had entered a plea of not guilty to five counts of fraud and conspiracy.\u003c/p>\n\u003cp>Meli and two associates \u003ca href=\"https://www.justice.gov/usao-sdny/pr/manhattan-man-pleads-guilty-participating-multimillion-dollar-securities-fraud-scheme\" target=\"_blank\" rel=\"noopener\">claimed\u003c/a> to investors that they had a relationship with the producer of \u003cem>Hamilton\u003c/em> and could purchase tickets in bulk to the Broadway smash and other popular attractions, and resell them on the secondary market for a tidy profit. Following the classic structure of a \u003ca href=\"https://www.bloomberg.com/news/articles/2017-10-31/manhattan-man-pleads-guilty-in-hamilton-ticket-ponzi-scheme\" target=\"_blank\" rel=\"noopener\">Ponzi scheme\u003c/a>, Melli and his associates — including Steven Simmons, who \u003ca href=\"http://www.reuters.com/article/us-usa-crime-ponzi-hamilton/connecticut-man-pleads-guilty-to-ponzi-like-hedge-fund-scheme-idUSKBN1CZ2L0\">pleaded guilty\u003c/a> on Monday — would pay off older investors with the investments of new ones.\u003c/p>\n\u003cp>Meli faced 85 years in prison and tens of millions of dollars in fines if he received the maximum sentence on each of the five charges.\u003c/p>\n\u003cp>The plea agreement came eight days after the filing of a motion by his attorney accusing the government of gathering some of the information for its case in a way that violated New York’s Rules of Professional Conduct.\u003c/p>\n\u003cp>Meli now faces a reduced sentence, scheduled to be handed down in January, of between six-and-a-half and just over eight years — along with a fine between $25,000 and the $5 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meli’s attorney, Dan Fetterman, accused the government of using its confidential witness in the case to elicit “a series of rambling, contradictory statements” from Meli, in the absence of his attorney. In his motion Fetterman writes the tactic violated the Rules of Professional Conduct, as noted by\u003cem> \u003c/em>\u003ca href=\"http://www.hollywoodreporter.com/thr-esq/alleged-hamilton-ponzi-schemer-gets-plea-deal-accusing-government-misconduct-1053299\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>The office of the U.S. Attorney for the Southern District of New York declined a request for more information, but did issue \u003ca href=\"https://www.justice.gov/usao-sdny/pr/manhattan-man-pleads-guilty-participating-multimillion-dollar-securities-fraud-scheme\" target=\"_blank\" rel=\"noopener\">a press release\u003c/a> on Meli’s plea.\u003c/p>\n\u003cp>“Mr. Meli is pleased that the United States Attorney’s Office for the Southern District of New York has agreed to dismiss the charges against him concerning the Sentinel Ponzi scheme,” Fetterman says in a statement provided to NPR, “and he looks forward to putting the case involving his ticket reselling business behind him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The industry which allowed Meli to defraud his investors — secondary ticketing, or “scalping” in the states and “touting” in the U.K. — is a contentious one, even when massive fraud isn’t in the picture. Ticketmaster, the world’s largest ticket-selling company, has its own subsidiary, TicketsNow, which allows customers to resell their tickets. The U.K.’s Department of Media, Culture and Sport announced a \u003ca href=\"https://www.theguardian.com/money/2017/mar/10/ministers-to-criminalise-use-of-ticket-tout-harvesting-software\" target=\"_blank\" rel=\"noopener\">package of regulations\u003c/a> earlier this year to rein in the practice. At its root are “bots,” automated computer programs which can sweep up swaths of seats to events at face value, allowing the owner of the bot to resell them for a profit. While the U.K. has no rules on ticket resales, many states in the U.S. do not allow the resale of tickets for prices higher than face value. But not all — Minnesota, for example, legalized resales \u003ca href=\"http://www.startribune.com/fans-burned-by-ticket-scalping/385044751/\" target=\"_blank\" rel=\"noopener\">in 2007\u003c/a>, which led to what the \u003cem>Star Tribune\u003c/em> called a “ticketing epidemic” in the state. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Accused+Of+%2495+Million+Fraud%2C+%27Hamilton%27+Ponzi+Schemer+Strikes+A+Plea+Agreement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\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": "\u003cp>I guess you could say that \u003ca href=\"http://theatrefirst.com/the-farm/\" target=\"_blank\" rel=\"noopener\">TheatreFirst\u003c/a> chose the right George Orwell story for the moment, or at least the more fluid-thinking of Orwell’s two famous dystopian novels. Where \u003cem>1984\u003c/em> revels in a no-way-out aesthetic of brutal, totalitarian extremes, \u003cem>Animal Farm\u003c/em> is shiftier, more alive to the way power mutates, vanishes, and rumbles through a society. This makes it nice source material for our slippery times.\u003c/p>\n\u003cp>The outlines of Orwell’s anti-Stalinist fable are faithfully reassembled in Jon Tracy’s rap-inspired adaptation (titled \u003cem>The Farm\u003c/em> here) under Michael Torres and Elena Wright’s direction with choreography by Liz Tenuto. We follow the rise and triumph of an animal insurrection led by the wily and savage pig Napoleon, a cadre of intellectually savvy fellow swine, and a host of lesser farm animals. As with most revolutions, what happens after is of greater concern than the victories that propel it to power.\u003c/p>\n\u003cfigure id=\"attachment_13811826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-800x450.jpg\" alt=\"Napoleon (Tierra Allen), front left, leads the revolution in 'The Farm' by Jon Tracy.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Napoleon (Tierra Allen), front left, leads the revolution in ‘The Farm’ by Jon Tracy. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, the successes and failures of \u003cem>The Farm\u003c/em> point to larger issues of how artists imagine the political. You can’t fault the production’s design, acting, direction and writing for energy and engagement. What is missing, though, is focus, trust, and the ability to present a vision of the world that allows an audience to approach it on their owns terms and reach their own conclusions.\u003c/p>\n\u003cp>This is a production anxious to let us know that something important is taking place. To say that the pitch is high would be an understatement: the performers rap-sing, stomp, and pound their way through a story that would have benefited from a good deal more subtlety and careful development. Bertolt Brecht’s musicals are a clear model: Brecht never let the music overwhelm his jaundiced and sharp tales of systemic injustice. In works like \u003cem>The Threepenny Opera\u003c/em> and \u003cem>The Rise and Fall of the City of Mahagonny\u003c/em>,\u003cb> \u003c/b>we never lose the story and are always in a state of acute awareness.\u003c/p>\n\u003cp>Here, sensation rules, especially in the first act. Rap has become a kind of shorthand for revolutionary fervor, and seeing the cast of thirteen belt out Tracy’s verse to a pounding kettledrum seems enlivening and in line with a call to political consciousness. Unfortunately, much of it comes off as white noise.\u003c/p>\n\u003cfigure id=\"attachment_13811827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-800x450.jpg\" alt=\"The Animals sing and stomp for the revolution in 'The Farm' by Jon Tracy.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Animals sing and stomp for the revolution in ‘The Farm’ by Jon Tracy. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The energy is astounding. But scene after scene of frenzied activity diminishes its impact. You start to feel as if you can anticipate not so much the story, but the method — pounding drums, gospel-tinged oohs, and group stomping. It’s not a particularly rich artistic palette and seems more focused on gaining audience approval than in investigating a political condition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although \u003cem>The Farm\u003c/em> is well-rehearsed and produced, it’s not until the second act, which explores the after-effects of the revolution, that the writing, acting, and overall production dynamics calm down enough to grapple with Orwell’s vision.\u003c/p>\n\u003cp>The simple demands of just telling and finishing a story force clearer artistic choices and a sharp shift in tone and tactics. So after the second act opens with another attempt at a show stomper or two, the play’s focus shifts to the difficulties the animals have in maintaining the revolutionary spirit and building a new society. All of a sudden, there are characters with distinct personal and political needs, and the acting rises to a sharper level because of it.\u003c/p>\n\u003cfigure id=\"attachment_13811829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-800x450.jpg\" alt=\"Squealer (Marlon Richardson) practices the fine art of perverting revolutionary ideals for personal gain in 'The Farm' by Jon Tracy.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squealer (Marlon Richardson) practices the fine art of perverting revolutionary ideals for personal gain in ‘The Farm’ by Jon Tracy. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tierra Allen’s Napoleon is a terrifying mix of the sloppy and the ingenious; Demione Brown, as Boxer the horse, catches the suicidal nature of goodness and renunciation; Marlon Richardson’s pig Squealer reveals the steely machinations of the committed opportunist; and in his role as the donkey Benjamin, Dean Koya conveys the passive and limited nature of an alert intelligence. In those moments where the characters attempt to think and respond to the rapidly changing events around them, you get a sense of the spiritual nausea that the aftermath of revolutions often bring.\u003c/p>\n\u003cp>\u003cem>The Farm\u003c/em> ends up being a smart take on our present political situation: we’ve never had to confront so clearly the limitations of our leaders and their followers, in both parties and across all factions. But the show is only smart when Tracy and the directors risk boredom and stop trying to overwhelm us with sensational gestures. After the revolution, every false move will kill you.\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>\u003cem>‘The Farm’ runs through Saturday, Nov. 11. For tickets and information \u003ca href=\"http://theatrefirst.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "The outlines of George Orwell’s anti-Stalinist fable are faithfully reassembled in Jon Tracy’s rap-inspired adaption for TheatreFirst.",
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"title": "Hip-Hop 'Animal Farm' Grapples With Orwell's Vision of Political Decay | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I guess you could say that \u003ca href=\"http://theatrefirst.com/the-farm/\" target=\"_blank\" rel=\"noopener\">TheatreFirst\u003c/a> chose the right George Orwell story for the moment, or at least the more fluid-thinking of Orwell’s two famous dystopian novels. Where \u003cem>1984\u003c/em> revels in a no-way-out aesthetic of brutal, totalitarian extremes, \u003cem>Animal Farm\u003c/em> is shiftier, more alive to the way power mutates, vanishes, and rumbles through a society. This makes it nice source material for our slippery times.\u003c/p>\n\u003cp>The outlines of Orwell’s anti-Stalinist fable are faithfully reassembled in Jon Tracy’s rap-inspired adaptation (titled \u003cem>The Farm\u003c/em> here) under Michael Torres and Elena Wright’s direction with choreography by Liz Tenuto. We follow the rise and triumph of an animal insurrection led by the wily and savage pig Napoleon, a cadre of intellectually savvy fellow swine, and a host of lesser farm animals. As with most revolutions, what happens after is of greater concern than the victories that propel it to power.\u003c/p>\n\u003cfigure id=\"attachment_13811826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-800x450.jpg\" alt=\"Napoleon (Tierra Allen), front left, leads the revolution in 'The Farm' by Jon Tracy.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2698-1-1024x683-e1508223777601-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Napoleon (Tierra Allen), front left, leads the revolution in ‘The Farm’ by Jon Tracy. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, the successes and failures of \u003cem>The Farm\u003c/em> point to larger issues of how artists imagine the political. You can’t fault the production’s design, acting, direction and writing for energy and engagement. What is missing, though, is focus, trust, and the ability to present a vision of the world that allows an audience to approach it on their owns terms and reach their own conclusions.\u003c/p>\n\u003cp>This is a production anxious to let us know that something important is taking place. To say that the pitch is high would be an understatement: the performers rap-sing, stomp, and pound their way through a story that would have benefited from a good deal more subtlety and careful development. Bertolt Brecht’s musicals are a clear model: Brecht never let the music overwhelm his jaundiced and sharp tales of systemic injustice. In works like \u003cem>The Threepenny Opera\u003c/em> and \u003cem>The Rise and Fall of the City of Mahagonny\u003c/em>,\u003cb> \u003c/b>we never lose the story and are always in a state of acute awareness.\u003c/p>\n\u003cp>Here, sensation rules, especially in the first act. Rap has become a kind of shorthand for revolutionary fervor, and seeing the cast of thirteen belt out Tracy’s verse to a pounding kettledrum seems enlivening and in line with a call to political consciousness. Unfortunately, much of it comes off as white noise.\u003c/p>\n\u003cfigure id=\"attachment_13811827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-800x450.jpg\" alt=\"The Animals sing and stomp for the revolution in 'The Farm' by Jon Tracy.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2681-1-1024x698-e1508224014164-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Animals sing and stomp for the revolution in ‘The Farm’ by Jon Tracy. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The energy is astounding. But scene after scene of frenzied activity diminishes its impact. You start to feel as if you can anticipate not so much the story, but the method — pounding drums, gospel-tinged oohs, and group stomping. It’s not a particularly rich artistic palette and seems more focused on gaining audience approval than in investigating a political condition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although \u003cem>The Farm\u003c/em> is well-rehearsed and produced, it’s not until the second act, which explores the after-effects of the revolution, that the writing, acting, and overall production dynamics calm down enough to grapple with Orwell’s vision.\u003c/p>\n\u003cp>The simple demands of just telling and finishing a story force clearer artistic choices and a sharp shift in tone and tactics. So after the second act opens with another attempt at a show stomper or two, the play’s focus shifts to the difficulties the animals have in maintaining the revolutionary spirit and building a new society. All of a sudden, there are characters with distinct personal and political needs, and the acting rises to a sharper level because of it.\u003c/p>\n\u003cfigure id=\"attachment_13811829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-800x450.jpg\" alt=\"Squealer (Marlon Richardson) practices the fine art of perverting revolutionary ideals for personal gain in 'The Farm' by Jon Tracy.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/farm-production-2601-1024x763-e1508224428715-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squealer (Marlon Richardson) practices the fine art of perverting revolutionary ideals for personal gain in ‘The Farm’ by Jon Tracy. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tierra Allen’s Napoleon is a terrifying mix of the sloppy and the ingenious; Demione Brown, as Boxer the horse, catches the suicidal nature of goodness and renunciation; Marlon Richardson’s pig Squealer reveals the steely machinations of the committed opportunist; and in his role as the donkey Benjamin, Dean Koya conveys the passive and limited nature of an alert intelligence. In those moments where the characters attempt to think and respond to the rapidly changing events around them, you get a sense of the spiritual nausea that the aftermath of revolutions often bring.\u003c/p>\n\u003cp>\u003cem>The Farm\u003c/em> ends up being a smart take on our present political situation: we’ve never had to confront so clearly the limitations of our leaders and their followers, in both parties and across all factions. But the show is only smart when Tracy and the directors risk boredom and stop trying to overwhelm us with sensational gestures. After the revolution, every false move will kill you.\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>\u003cem>‘The Farm’ runs through Saturday, Nov. 11. For tickets and information \u003ca href=\"http://theatrefirst.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Marriage that Never Was Dreams Up New American Myths and Values",
"headTitle": "A Marriage that Never Was Dreams Up New American Myths and Values | KQED",
"content": "\u003cp>The astonishing, though still largely unknown, American playwright Thomas Bradshaw — whose \u003cem>\u003ca href=\"http://www.marintheatre.org/productions/thomas-and-sally\" target=\"_blank\" rel=\"noopener\">Thomas and Sally\u003c/a>\u003c/em> is receiving its world premiere in a terrific production at the Marin Theater Company — gets his kicks out of seeing the world as it is, unvarnished and raw.\u003c/p>\n\u003cp>One imagines in another life that Bradshaw might have been one of those gleeful animal scientists, the kind who seem all too happy to report that hamsters eat their young, penguins dig necrophilia, and dolphins are gang rapists. His oeuvre is a hall of shame of outré behavior rendered in a flat, comic style that resembles the unsettling veneer of late 20th-century daytime soaps.\u003c/p>\n\u003cp>\u003cem>Thomas and Sally\u003c/em> begins in a dorm room where two young women, apparently white, are arguing over dildo etiquette, a typical Bradshaw scene if there ever was one. Karen is writing a term paper on Thomas Jefferson, which sends Simone into a tizzy of delight, for she is a Hemings, an illegitimate descendant of our third president and Sally Hemings, his slave and longtime lover.\u003c/p>\n\u003cp>\u003ci>(Editor’s note: Many critics have recently \u003ca href=\"https://www.washingtonpost.com/outlook/sally-hemings-wasnt-thomas-jeffersons-mistress-she-was-his-property/2017/07/06/db5844d4-625d-11e7-8adc-fea80e32bf47_story.html?utm_term=.10c8174f08aa\" target=\"_blank\" rel=\"noopener\">called historical accounts that refer to Hemings as Jefferson’s “lover” or “mistress” into question\u003c/a> because, as his slave and, therefore, his property, it’s unclear whether she gave consent in their sexual relations.)\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13810892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-800x450.jpg\" alt=\"(L to R) Simone (Ella Dershowitz) and her roommate Karen (Rosie Hallett) are sharp observers and sometimes antagonists on the importance of the Thomas Jefferson-Sally Hemings romance in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Simone (Ella Dershowitz) and her roommate Karen (Rosie Hallett) are sharp observers and sometimes antagonists over the importance of the Thomas Jefferson-Sally Hemings romance in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Karen responds that Simone isn’t or doesn’t look Black and there we have it, Bradshaw’s first puncture wound to American identity. Even as she shares a dildo with the result of our country’s original sin, or whatever you want to call the last 300 years of racial turmoil and mixing, Karen can’t quite believe what’s right in front of her eyes. Not only are we a nation built on kidnapped and enslaved Africans, but, more radically, an African-American nation right down to a young blond woman going to college in Vermont.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So with Simone as our trusty narrator and Karen in need of some hands-on research, the two lead us through a vaudeville history of the Jefferson and Hemings families, often taking on minor roles themselves for the sheer joy of it all. The tone is anarchic and full of wild theatrical invention, and yet all that nuttiness is balanced with a searing, social realism.\u003c/p>\n\u003cp>A slave owner refuses to sell a slave because he’s curious to see how a mixed-race child “would turn out.” Slaves beat other slaves for sadistic fun and practical power. Jefferson’s father-in-law gives him some deathbed advice — “those slaves are your wealth” — and the economically insecure abolitionist suddenly sees the freeing of Blacks as a moral necessity that must happen… later. The jokes are wry, but the moral and ethical stakes are vast.\u003c/p>\n\u003cfigure id=\"attachment_13810896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-800x450.jpg\" alt=\"Thomas Jefferson (Mark Anderson Phillips) takes a bath while Robert Hemings (Cameron Matthews) must listen to him muse about life and his feelings in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson (Mark Anderson Phillips) takes a bath while Robert Hemings (Cameron Matthews) must listen to him muse about life and his feelings in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of the pleasure of \u003cem>Thomas and Sally\u003c/em> is that it’s long and divided into three acts, a rarity in contemporary American theater. And so the idea of resolution is delayed — and that’s crucial to Bradshaw’s game. We have room to roam and our sense of history starts to mutate towards reality, the way people really behave. Here is the world as it was and as it continues to be, ugly and kind of fun.\u003c/p>\n\u003cp>Bradshaw isn’t making an argument so much as throwing us into a thousand obvious possibilities. Reveling in the brutal facts of slavery and its astounding injustices, this truly daring playwright challenges us to recognize uncomfortable truths: that slave owners fell madly in love with their slaves and that some slaves were sexually attracted to their masters. \u003cem>Thomas and Sally\u003c/em> takes its time in letting those things happen, but has little patience for any naiveté about the ways of the world.\u003c/p>\n\u003cp>Bradshaw’s Jefferson is close to, if not criminal in his behavior. He’s a self-justifying prig who barely understands his own twisted desires, and yet he’s a beautiful person with a true sense of love. Played with great precision by Mark Anderson Phillips, we’re confronted with the full force of a man overwhelmed by a love that almost exists outside his imagination. In many ways his brilliance makes everything scuzzier than it should be.\u003c/p>\n\u003cfigure id=\"attachment_13810898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-800x453.jpg\" alt=\"Sally Hemings (Tara Pacheco) tries to imagine everything that is happening to her in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sally Hemings (Tara Pacheco) tries to imagine everything that is happening to her in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And because of the play’s length, we have time to assess and reassess behavior, to feel the romance rise and ebb more than a few times. So we can truly follow Hemings’ slow awakening to the full horror and crazy possibilities that were opening up before her. She comes to Paris, barely 14, the maidservant to Jefferson’s daughter. And before long she’s having a passionate affair with the 44-year old founding father (not to mention then-ambassador to France and future president) who owns her, though crucially, maybe not in Europe.\u003c/p>\n\u003cp>It’s a disaster of feeling and Tara Pacheco’s Sally lets us feel it all. The actress never anticipates the moment, and so we never get ahead of ourselves with Hemings. We feel and think along with her, tentatively and with great apprehension. We watch her watch Jefferson and without losing our ethical qualms, start to see him in the way a very young, enslaved woman might. Here is true love and an escape to a better world, or maybe, terrifyingly, just the opposite.\u003c/p>\n\u003cp>When Jefferson unabashedly declares his love to Hemings, pay attention to the ring bearer of this marriage that never took place. For the hero of the play is neither Jefferson nor Hemings, but Simone and her absolute belief in their love. What she has been trying to tell her roommate is that in spite of all the ugliness, in spite of all the injustice, in spite of a thousand moral failures, she still feels and is the inheritor of Jefferson and Hemings’ great love.\u003c/p>\n\u003cfigure id=\"attachment_13810897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-800x450.jpg\" alt=\"It is more than just history for Simone (Ella Dershowitz), as she observes Betty Hemings (Charlotte Speigner) with roommate Karen (Rosie Hallet) in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It is more than just history for Simone (Ella Dershowitz), as she observes Betty Hemings (Charlotte Speigner) with roommate Karen (Rosie Hallet) in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Simone’s belief is nothing less than a hijacking of American identity, the jettisoning of one set of myths for the embrace of an entirely different set of values. It is a vision that realizes the worst in people and yet hopes for the best results, a taking on of the great American racial freak-out and declaring it our founding romance and a blessing to us all.\u003c/p>\n\u003cp>I’m not sure the opening night MTC crowd fully took in the scope of what they witnessed, because if they had they would have hoisted Bradshaw on their well-heeled shoulders and danced down the heart of Mill Valley.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Thomas and Sally’ runs through Sunday, Oct. 29. For tickets and information \u003ca href=\"http://www.marintheatre.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "At the Marin Theater Company, Thomas Bradshaw's 'Thomas and Sally' gets its kicks out of seeing the world as it is, unvarnished and raw.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The astonishing, though still largely unknown, American playwright Thomas Bradshaw — whose \u003cem>\u003ca href=\"http://www.marintheatre.org/productions/thomas-and-sally\" target=\"_blank\" rel=\"noopener\">Thomas and Sally\u003c/a>\u003c/em> is receiving its world premiere in a terrific production at the Marin Theater Company — gets his kicks out of seeing the world as it is, unvarnished and raw.\u003c/p>\n\u003cp>One imagines in another life that Bradshaw might have been one of those gleeful animal scientists, the kind who seem all too happy to report that hamsters eat their young, penguins dig necrophilia, and dolphins are gang rapists. His oeuvre is a hall of shame of outré behavior rendered in a flat, comic style that resembles the unsettling veneer of late 20th-century daytime soaps.\u003c/p>\n\u003cp>\u003cem>Thomas and Sally\u003c/em> begins in a dorm room where two young women, apparently white, are arguing over dildo etiquette, a typical Bradshaw scene if there ever was one. Karen is writing a term paper on Thomas Jefferson, which sends Simone into a tizzy of delight, for she is a Hemings, an illegitimate descendant of our third president and Sally Hemings, his slave and longtime lover.\u003c/p>\n\u003cp>\u003ci>(Editor’s note: Many critics have recently \u003ca href=\"https://www.washingtonpost.com/outlook/sally-hemings-wasnt-thomas-jeffersons-mistress-she-was-his-property/2017/07/06/db5844d4-625d-11e7-8adc-fea80e32bf47_story.html?utm_term=.10c8174f08aa\" target=\"_blank\" rel=\"noopener\">called historical accounts that refer to Hemings as Jefferson’s “lover” or “mistress” into question\u003c/a> because, as his slave and, therefore, his property, it’s unclear whether she gave consent in their sexual relations.)\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13810892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-800x450.jpg\" alt=\"(L to R) Simone (Ella Dershowitz) and her roommate Karen (Rosie Hallett) are sharp observers and sometimes antagonists on the importance of the Thomas Jefferson-Sally Hemings romance in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Dershowitz_Hallett_HiRes-e1507534180817-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Simone (Ella Dershowitz) and her roommate Karen (Rosie Hallett) are sharp observers and sometimes antagonists over the importance of the Thomas Jefferson-Sally Hemings romance in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Karen responds that Simone isn’t or doesn’t look Black and there we have it, Bradshaw’s first puncture wound to American identity. Even as she shares a dildo with the result of our country’s original sin, or whatever you want to call the last 300 years of racial turmoil and mixing, Karen can’t quite believe what’s right in front of her eyes. Not only are we a nation built on kidnapped and enslaved Africans, but, more radically, an African-American nation right down to a young blond woman going to college in Vermont.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So with Simone as our trusty narrator and Karen in need of some hands-on research, the two lead us through a vaudeville history of the Jefferson and Hemings families, often taking on minor roles themselves for the sheer joy of it all. The tone is anarchic and full of wild theatrical invention, and yet all that nuttiness is balanced with a searing, social realism.\u003c/p>\n\u003cp>A slave owner refuses to sell a slave because he’s curious to see how a mixed-race child “would turn out.” Slaves beat other slaves for sadistic fun and practical power. Jefferson’s father-in-law gives him some deathbed advice — “those slaves are your wealth” — and the economically insecure abolitionist suddenly sees the freeing of Blacks as a moral necessity that must happen… later. The jokes are wry, but the moral and ethical stakes are vast.\u003c/p>\n\u003cfigure id=\"attachment_13810896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-800x450.jpg\" alt=\"Thomas Jefferson (Mark Anderson Phillips) takes a bath while Robert Hemings (Cameron Matthews) must listen to him muse about life and his feelings in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Phillips_Matthews_HiRes-e1507534706409-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson (Mark Anderson Phillips) takes a bath while Robert Hemings (Cameron Matthews) must listen to him muse about life and his feelings in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of the pleasure of \u003cem>Thomas and Sally\u003c/em> is that it’s long and divided into three acts, a rarity in contemporary American theater. And so the idea of resolution is delayed — and that’s crucial to Bradshaw’s game. We have room to roam and our sense of history starts to mutate towards reality, the way people really behave. Here is the world as it was and as it continues to be, ugly and kind of fun.\u003c/p>\n\u003cp>Bradshaw isn’t making an argument so much as throwing us into a thousand obvious possibilities. Reveling in the brutal facts of slavery and its astounding injustices, this truly daring playwright challenges us to recognize uncomfortable truths: that slave owners fell madly in love with their slaves and that some slaves were sexually attracted to their masters. \u003cem>Thomas and Sally\u003c/em> takes its time in letting those things happen, but has little patience for any naiveté about the ways of the world.\u003c/p>\n\u003cp>Bradshaw’s Jefferson is close to, if not criminal in his behavior. He’s a self-justifying prig who barely understands his own twisted desires, and yet he’s a beautiful person with a true sense of love. Played with great precision by Mark Anderson Phillips, we’re confronted with the full force of a man overwhelmed by a love that almost exists outside his imagination. In many ways his brilliance makes everything scuzzier than it should be.\u003c/p>\n\u003cfigure id=\"attachment_13810898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-800x453.jpg\" alt=\"Sally Hemings (Tara Pacheco) tries to imagine everything that is happening to her in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Pacheco_HiRes-e1507535286506.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sally Hemings (Tara Pacheco) tries to imagine everything that is happening to her in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And because of the play’s length, we have time to assess and reassess behavior, to feel the romance rise and ebb more than a few times. So we can truly follow Hemings’ slow awakening to the full horror and crazy possibilities that were opening up before her. She comes to Paris, barely 14, the maidservant to Jefferson’s daughter. And before long she’s having a passionate affair with the 44-year old founding father (not to mention then-ambassador to France and future president) who owns her, though crucially, maybe not in Europe.\u003c/p>\n\u003cp>It’s a disaster of feeling and Tara Pacheco’s Sally lets us feel it all. The actress never anticipates the moment, and so we never get ahead of ourselves with Hemings. We feel and think along with her, tentatively and with great apprehension. We watch her watch Jefferson and without losing our ethical qualms, start to see him in the way a very young, enslaved woman might. Here is true love and an escape to a better world, or maybe, terrifyingly, just the opposite.\u003c/p>\n\u003cp>When Jefferson unabashedly declares his love to Hemings, pay attention to the ring bearer of this marriage that never took place. For the hero of the play is neither Jefferson nor Hemings, but Simone and her absolute belief in their love. What she has been trying to tell her roommate is that in spite of all the ugliness, in spite of all the injustice, in spite of a thousand moral failures, she still feels and is the inheritor of Jefferson and Hemings’ great love.\u003c/p>\n\u003cfigure id=\"attachment_13810897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-800x450.jpg\" alt=\"It is more than just history for Simone (Ella Dershowitz), as she observes Betty Hemings (Charlotte Speigner) with roommate Karen (Rosie Hallet) in 'Thomas and Sally' by Thomas Bradshaw.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MTC_TandS_Speignier_Dershowitz_Hallett_HiRes-e1507535126152-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It is more than just history for Simone (Ella Dershowitz), as she observes Betty Hemings (Charlotte Speigner) with roommate Karen (Rosie Hallet) in ‘Thomas and Sally’ by Thomas Bradshaw. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Simone’s belief is nothing less than a hijacking of American identity, the jettisoning of one set of myths for the embrace of an entirely different set of values. It is a vision that realizes the worst in people and yet hopes for the best results, a taking on of the great American racial freak-out and declaring it our founding romance and a blessing to us all.\u003c/p>\n\u003cp>I’m not sure the opening night MTC crowd fully took in the scope of what they witnessed, because if they had they would have hoisted Bradshaw on their well-heeled shoulders and danced down the heart of Mill Valley.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thomas and Sally’ runs through Sunday, Oct. 29. For tickets and information \u003ca href=\"http://www.marintheatre.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a heartbreaking week for artists and venues in the North Bay, with the fires still raging in Sonoma, Napa and Mendocino. Electronic music pioneer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires/\" target=\"_blank\" rel=\"noopener\">Bernie Krause lost his home\u003c/a>, all his equipment and his two cats. The \u003ca href=\"https://www.facebook.com/pg/lutherburbankcenter/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center in Santa Rosa suffered some damage\u003c/a>, and along with the \u003ca href=\"https://www.facebook.com/search/str/Green+music+Center/keywords_blended_featured_posts?esd=eyJlc2lkIjoiUzpfSTEzOTcwNzI4Mjc0ODk0ODpWSzo1MjQzNjc2MTEyMzEwNDgiLCJwc2lkIjp7IjEzOTcwNzI4Mjc0ODk0ODo1MjQzNjc2MTEyMzEwNDgiOiJVenBmU1RFek9UY3dOekk0TWpjME9EazBPRHBXU3pvMU1qUXpOamMyTVRFeU16RXdORGc9In0sImNyY3QiOiJ0ZXh0IiwiY3NpZCI6IjA2NjE0OTVlZmM1N2Q1NmJiY2VhY2YzYzg0YjA0ZWNiIn0%3D\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> and other venues, remains closed indefinitely. Same for the di Rosa in Napa, the Napa Museum, and the Napa Valley Performing Arts Center. The \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> opened its doors as a shelter, but resumes programming on Friday (Oct. 13).\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/pg/hopmonksebastopol/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\"> Hop Monk Taverns\u003c/a> in Sonoma and Sebastopol are canceling weekend music shows, but owner Dean Biersch says they’re still hoping to do a Sunday show with John Doe of the band X at their Novato venue, depending on air quality. \u003ca href=\"https://www.facebook.com/winecountryspokenwordfestival/\" target=\"_blank\" rel=\"noopener\">The Inaugural Wine Country Spoken Word Festival\u003c/a> is offering a special rate of five dollars for tickets to their Ghost Stories event at \u003ca href=\"http://brewstersbeergarden.com/\" target=\"_blank\" rel=\"noopener\">Brewsters Beer Garden\u003c/a> in Petaluma (Oct. 13), and for their shows on Saturday (Oct. 14), with half the proceeds to be donated to fire victims and their families. Our thoughts are with you all you.\u003c/p>\n\u003cp>Meanwhile here’s our show, a refuge against stress, of joy through art, in the midst of tragedy, with my colleague, Interactive Producer Kevin Jones, as co-host.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/soul-music-that-drifts-through-space/\" target=\"_blank\" rel=\"noopener\">Nick Hakim plays trippy soul music that seems to drift through space at a pair of gigs in San Francisco and Oakland.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 12-22: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-play-about-syrian-refugees-told-through-the-language-of-food/\" target=\"_blank\" rel=\"noopener\">The play \u003cem>My Sweet Land\u003c/em> presents its tale of Syrian refugees in home and community kitchens through the cooking of a batch of kibbeh.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 14\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-celebration-of-culture-that-unites-the-two-koreas/\" target=\"_blank\" rel=\"noopener\">Concerts and seminars at U.C. Santa Cruz and U.C. Berkeley present music from a united Korean culture from before the country divided.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 7-Jan. 21, 2018\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/an-inflatable-sculpture-designed-to-fight-existential-dread/\" target=\"_blank\" rel=\"noopener\">An inflatable sculpture at the Oakland Museum of California battles existential dread.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/fantastic-negrito-makes-music-about-our-times-and-troubles/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito makes music to inspire and unite.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19: \u003c/strong>MacArthur Fellow and writer Viet Thanh Nguyen (\u003cem>The Sympathizer\u003c/em>) speaks at \u003ca href=\"http://www.litart.org/viet-thanh-nguyen/\" target=\"_blank\" rel=\"noopener\">San Jose State Oct. 18 \u003c/a>and at \u003ca href=\"https://lwcal.scu.edu/index.php#!event_id/37896/view/event/date/20171019\" target=\"_blank\" rel=\"noopener\">Santa Clara University Oct. 19.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct 13, 14: \u003c/strong>\u003ca href=\"https://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=316725~983c845f-a11a-4407-a254-d45cc3fdaab3&epguid=a1ad63af-e5ba-48a3-940d-9a52532417fb&\" target=\"_blank\" rel=\"noopener\">The documentary \u003cem>On the Sly: In Search of the Family Stone \u003c/em>plays at the Mill Valley Film Festival \u003c/a>\u003c/p>\n\n",
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"excerpt": "The Do List's picks this week include joyful sculpture at OMCA, neo-soul artist Nick Hakim, Oakland's Fantastic Negrito and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a heartbreaking week for artists and venues in the North Bay, with the fires still raging in Sonoma, Napa and Mendocino. Electronic music pioneer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires/\" target=\"_blank\" rel=\"noopener\">Bernie Krause lost his home\u003c/a>, all his equipment and his two cats. The \u003ca href=\"https://www.facebook.com/pg/lutherburbankcenter/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center in Santa Rosa suffered some damage\u003c/a>, and along with the \u003ca href=\"https://www.facebook.com/search/str/Green+music+Center/keywords_blended_featured_posts?esd=eyJlc2lkIjoiUzpfSTEzOTcwNzI4Mjc0ODk0ODpWSzo1MjQzNjc2MTEyMzEwNDgiLCJwc2lkIjp7IjEzOTcwNzI4Mjc0ODk0ODo1MjQzNjc2MTEyMzEwNDgiOiJVenBmU1RFek9UY3dOekk0TWpjME9EazBPRHBXU3pvMU1qUXpOamMyTVRFeU16RXdORGc9In0sImNyY3QiOiJ0ZXh0IiwiY3NpZCI6IjA2NjE0OTVlZmM1N2Q1NmJiY2VhY2YzYzg0YjA0ZWNiIn0%3D\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> and other venues, remains closed indefinitely. Same for the di Rosa in Napa, the Napa Museum, and the Napa Valley Performing Arts Center. The \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> opened its doors as a shelter, but resumes programming on Friday (Oct. 13).\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/pg/hopmonksebastopol/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\"> Hop Monk Taverns\u003c/a> in Sonoma and Sebastopol are canceling weekend music shows, but owner Dean Biersch says they’re still hoping to do a Sunday show with John Doe of the band X at their Novato venue, depending on air quality. \u003ca href=\"https://www.facebook.com/winecountryspokenwordfestival/\" target=\"_blank\" rel=\"noopener\">The Inaugural Wine Country Spoken Word Festival\u003c/a> is offering a special rate of five dollars for tickets to their Ghost Stories event at \u003ca href=\"http://brewstersbeergarden.com/\" target=\"_blank\" rel=\"noopener\">Brewsters Beer Garden\u003c/a> in Petaluma (Oct. 13), and for their shows on Saturday (Oct. 14), with half the proceeds to be donated to fire victims and their families. Our thoughts are with you all you.\u003c/p>\n\u003cp>Meanwhile here’s our show, a refuge against stress, of joy through art, in the midst of tragedy, with my colleague, Interactive Producer Kevin Jones, as co-host.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/soul-music-that-drifts-through-space/\" target=\"_blank\" rel=\"noopener\">Nick Hakim plays trippy soul music that seems to drift through space at a pair of gigs in San Francisco and Oakland.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 12-22: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-play-about-syrian-refugees-told-through-the-language-of-food/\" target=\"_blank\" rel=\"noopener\">The play \u003cem>My Sweet Land\u003c/em> presents its tale of Syrian refugees in home and community kitchens through the cooking of a batch of kibbeh.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Golden Thread is a San Francisco theater company devoted to shows about the Middle East. Their new show is \u003cem>My Sweet Land\u003c/em>, by the Palestinian playwright Amir Nizar Zuabi, and based on interviews Zuabi did with Syrian refugees. Golden Thread is staging this one-woman show, starring Nora el Samahy, in Bay Area home and community kitchens as Zuabi intended. You can smell and hear the onions cooking as Samahy makes a batch of kibbe.\u003c/p>\n\u003cp>Director Torange Yeghiazarian of Golden Thread Productions says that food can have tears in it, and yet still sustain us. “Part of what we are doing by going to people’s homes and workplaces, is to say ‘You’re not alone. That we’re in this together, and we can hold each other and we can talk about it, and possibly somebody will find a solution, you know.”\u003c/p>\n\u003cp>Golden Thread productions presents Oh My Sweet Land in a series of home and community kitchens through Sunday, Oct. 22; \u003ca href=\"http://www.goldenthread.org/2017-season/oh-my-sweet-land/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uyo5z3X8U1A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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