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"content": "\u003cp>The receipts from \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Bruce Springsteen\u003c/a>‘s \u003ca href=\"http://www.npr.org/sections/therecord/2017/08/09/533227031/bruce-springsteen-is-headed-to-broadway-for-an-intimate-series-of-performances\" target=\"_blank\" rel=\"noopener\">first week on Broadway\u003c/a> are in. The Boss, over five sold-out performances, grossed $2.33 million — or about $466,000 per night. The sum beat out every production other than \u003cem>Hamilton\u003c/em> (with $2.92 million in gross earnings) and \u003cem>Hello, Dolly!\u003c/em> (with $2.34 million in gross earnings), \u003ca href=\"https://www.broadwayleague.com/research/grosses-broadway-nyc/\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to The Broadway League.\u003c/p>\n\u003cp>\u003cem>Springsteen On Broadway\u003c/em>, which sold out immediately, had its initial run at the Walter Kerr Theatre extended into February, for a total of 79 performances. (It was originally scheduled to end in November.) It “is probably the smallest venue I’ve played in the last 40 years,” Springsteen wrote in the initial announcement. “My show is just me, the guitar, the piano and the words and music.”\u003c/p>\n\u003cp>The show is an intimate, stripped-down tour through Springsteen’s work and history from a script he penned himself. Despite the bare-bones production — the show has no director — he enlisted two of Broadway’s best: the Tony Award-winning lighting designer Natasha Katz and sound designer Brian Ronan.\u003c/p>\n\u003cp>“It’s going to feel like a garage workshop basically, and I’m going to play my songs and tell my stories. So it wasn’t something that called for a whole lot more than that,” Springsteen \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/bruce-springsteen-broadway.html\">told \u003cem>The New York Times\u003c/em>\u003c/a>. \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=%27Springsteen+On+Broadway%27+Makes+A+Tidy+Sum+Its+First+Week&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The receipts from \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Bruce Springsteen\u003c/a>‘s \u003ca href=\"http://www.npr.org/sections/therecord/2017/08/09/533227031/bruce-springsteen-is-headed-to-broadway-for-an-intimate-series-of-performances\" target=\"_blank\" rel=\"noopener\">first week on Broadway\u003c/a> are in. The Boss, over five sold-out performances, grossed $2.33 million — or about $466,000 per night. The sum beat out every production other than \u003cem>Hamilton\u003c/em> (with $2.92 million in gross earnings) and \u003cem>Hello, Dolly!\u003c/em> (with $2.34 million in gross earnings), \u003ca href=\"https://www.broadwayleague.com/research/grosses-broadway-nyc/\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to The Broadway League.\u003c/p>\n\u003cp>\u003cem>Springsteen On Broadway\u003c/em>, which sold out immediately, had its initial run at the Walter Kerr Theatre extended into February, for a total of 79 performances. (It was originally scheduled to end in November.) It “is probably the smallest venue I’ve played in the last 40 years,” Springsteen wrote in the initial announcement. “My show is just me, the guitar, the piano and the words and music.”\u003c/p>\n\u003cp>The show is an intimate, stripped-down tour through Springsteen’s work and history from a script he penned himself. Despite the bare-bones production — the show has no director — he enlisted two of Broadway’s best: the Tony Award-winning lighting designer Natasha Katz and sound designer Brian Ronan.\u003c/p>\n\u003cp>“It’s going to feel like a garage workshop basically, and I’m going to play my songs and tell my stories. So it wasn’t something that called for a whole lot more than that,” Springsteen \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/bruce-springsteen-broadway.html\">told \u003cem>The New York Times\u003c/em>\u003c/a>. \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=%27Springsteen+On+Broadway%27+Makes+A+Tidy+Sum+Its+First+Week&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Shotgun Players' 'Blasted' is a Complex Portrayal of Despair",
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"content": "\u003cp>The late British dramatist Sarah Kane’s infamous first play \u003cem>Blasted\u003c/em> begins under depressingly normal and rather crass circumstances.\u003c/p>\n\u003cp>Cate, a young woman, barely out of her teens, and Ian, a seasoned journalist barely in his fifties, enter an upscale hotel room for what looks like a tawdry good time. The pairing of his gun and her backpack might make us pause, but not enough to jar us from what we know of these types of liaisons.\u003c/p>\n\u003cp class=\"MsoNormal\">Kane shifts the focus from the mundane to the disconcerting almost immediately, as both Ian and Cate’s bodies appear to be in a state of permanent failure. He’s caught in some nether zone between coughing and vomiting, and her outbursts of stuttering feel closer to seizures than a speech defect. That she also occasionally falls into a narcoleptic trance is both terrifying — anything might happen while she’s unconscious — and a welcome respite for a mind in constant and overwhelming despair.\u003c/p>\n\u003cfigure id=\"attachment_13810138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810138\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-800x466.jpg\" alt=\"(L to R) Ian (Robert Parsons), the bouquet of flowers, and Cate (Adrienne Walters) negotiate a deadly dance in 'Blasted' by Sarah Kane.\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Ian (Robert Parsons), the bouquet of flowers, and Cate (Adrienne Walters) negotiate a deadly dance in ‘Blasted’ by Sarah Kane. \u003ccite>(Photo: Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"MsoNormal\">How these two people negotiate and what they expect from this brief encounter is caught in a tangle of memories — not only of their past (which as you might guess is fraught), but also the fragments of our cultural past as well. Kane fills the stage with signs of what romance once was, even in its most illicit incarnations. There is champagne, a shower, room service meals, and of course the bed. But the most potent and simplest image is a bouquet of flowers.\u003c/p>\n\u003cp class=\"MsoNormal\">They are a constant reminder of where we — and they — need to return, a kind of path to the resurrection of normal relations. Watch the way Robert Parsons as Ian in \u003ca href=\"https://shotgunplayers.org/Online/blasted\" target=\"_blank\" rel=\"noopener\">Shotgun Players’ brilliant production\u003c/a> manipulates this simple image and you’ll get a sense of why so many writers, directors, and actors are entranced with \u003ci>Blasted\u003c/i> and Kane’s subsequent work. Each transformation of the bouquet is a masterpiece of dramatic concision, as you never quite know what’s going to become of those flowers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"MsoNormal\">To say that Kane takes the title of her play at its word is rather an understatement. Everything that follows Ian and Cate’s initial meeting is an attempt to give larger political meaning to their behavior and our understanding of it. One might say that nothing is as it seems, but perhaps, more accurately, everything turns out as it should. We just haven’t noticed what’s right in front of us yet, and this is a playwright who is going to make sure that happens, blast after blast after blast.\u003c/p>\n\u003cfigure id=\"attachment_13810099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-800x455.jpg\" alt=\"A not so surprising entrance by a soldier (Joe Estlack) challenges Ian's sense of nihilist decorum in 'Blasted' by Sarah Kane.\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540.jpg 917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A not so surprising entrance by a soldier (Joe Estlack) challenges Ian’s sense of nihilist decorum in ‘Blasted’ by Sarah Kane. \u003ccite>(Photo: Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The then-24-year-old dramatist, four years shy of her suicide, shows what happens when our metaphors turn real, when everything is permitted and there’s no need for imagination. It’s an idea Dostoyevsky twists to pieces in \u003ci>The Brothers Karamazov\u003c/i>. Only here, there’s no break with Christianity or any other spiritual system, just a dazzling embrace of a reckless and blinding abandon. Is it any surprise, as with Jericho, the walls come tumbling down?\u003c/p>\n\u003cp class=\"MsoNormal\">I won’t even begin to hint at what happens. You deserve the pleasure of seeing the Shotgun Players’ version on its own terms and under your own guidance — this is a theater for adult souls, so go and follow your own compass.\u003c/p>\n\u003cp class=\"MsoNormal\">But I will add this caveat: I ultimately find Kane’s vision rather clichéd. Thrillingly so, but still caught in a false humanism that is at the root of the very violence she so deplores. We should all share her outrage at injustice. But outrage has limited aesthetic and political value. There’s nowhere for the play to go but intensely felt sentimentality. And as we’re learning in 21st century America, sentiment and righteousness are shaky, dangerous guides to a more humane world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Shotgun Players’ production of ‘Blasted’ runs through Sunday, Oct. 22, at the Ashby Stage in Berkeley. For tickets and information \u003ca href=\"https://shotgunplayers.org/online/blasted\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late British dramatist Sarah Kane’s infamous first play \u003cem>Blasted\u003c/em> begins under depressingly normal and rather crass circumstances.\u003c/p>\n\u003cp>Cate, a young woman, barely out of her teens, and Ian, a seasoned journalist barely in his fifties, enter an upscale hotel room for what looks like a tawdry good time. The pairing of his gun and her backpack might make us pause, but not enough to jar us from what we know of these types of liaisons.\u003c/p>\n\u003cp class=\"MsoNormal\">Kane shifts the focus from the mundane to the disconcerting almost immediately, as both Ian and Cate’s bodies appear to be in a state of permanent failure. He’s caught in some nether zone between coughing and vomiting, and her outbursts of stuttering feel closer to seizures than a speech defect. That she also occasionally falls into a narcoleptic trance is both terrifying — anything might happen while she’s unconscious — and a welcome respite for a mind in constant and overwhelming despair.\u003c/p>\n\u003cfigure id=\"attachment_13810138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810138\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-800x466.jpg\" alt=\"(L to R) Ian (Robert Parsons), the bouquet of flowers, and Cate (Adrienne Walters) negotiate a deadly dance in 'Blasted' by Sarah Kane.\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted4-e1506961147598.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Ian (Robert Parsons), the bouquet of flowers, and Cate (Adrienne Walters) negotiate a deadly dance in ‘Blasted’ by Sarah Kane. \u003ccite>(Photo: Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"MsoNormal\">How these two people negotiate and what they expect from this brief encounter is caught in a tangle of memories — not only of their past (which as you might guess is fraught), but also the fragments of our cultural past as well. Kane fills the stage with signs of what romance once was, even in its most illicit incarnations. There is champagne, a shower, room service meals, and of course the bed. But the most potent and simplest image is a bouquet of flowers.\u003c/p>\n\u003cp class=\"MsoNormal\">They are a constant reminder of where we — and they — need to return, a kind of path to the resurrection of normal relations. Watch the way Robert Parsons as Ian in \u003ca href=\"https://shotgunplayers.org/Online/blasted\" target=\"_blank\" rel=\"noopener\">Shotgun Players’ brilliant production\u003c/a> manipulates this simple image and you’ll get a sense of why so many writers, directors, and actors are entranced with \u003ci>Blasted\u003c/i> and Kane’s subsequent work. Each transformation of the bouquet is a masterpiece of dramatic concision, as you never quite know what’s going to become of those flowers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"MsoNormal\">To say that Kane takes the title of her play at its word is rather an understatement. Everything that follows Ian and Cate’s initial meeting is an attempt to give larger political meaning to their behavior and our understanding of it. One might say that nothing is as it seems, but perhaps, more accurately, everything turns out as it should. We just haven’t noticed what’s right in front of us yet, and this is a playwright who is going to make sure that happens, blast after blast after blast.\u003c/p>\n\u003cfigure id=\"attachment_13810099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-800x455.jpg\" alt=\"A not so surprising entrance by a soldier (Joe Estlack) challenges Ian's sense of nihilist decorum in 'Blasted' by Sarah Kane.\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Blasted3-e1506928752540.jpg 917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A not so surprising entrance by a soldier (Joe Estlack) challenges Ian’s sense of nihilist decorum in ‘Blasted’ by Sarah Kane. \u003ccite>(Photo: Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The then-24-year-old dramatist, four years shy of her suicide, shows what happens when our metaphors turn real, when everything is permitted and there’s no need for imagination. It’s an idea Dostoyevsky twists to pieces in \u003ci>The Brothers Karamazov\u003c/i>. Only here, there’s no break with Christianity or any other spiritual system, just a dazzling embrace of a reckless and blinding abandon. Is it any surprise, as with Jericho, the walls come tumbling down?\u003c/p>\n\u003cp class=\"MsoNormal\">I won’t even begin to hint at what happens. You deserve the pleasure of seeing the Shotgun Players’ version on its own terms and under your own guidance — this is a theater for adult souls, so go and follow your own compass.\u003c/p>\n\u003cp class=\"MsoNormal\">But I will add this caveat: I ultimately find Kane’s vision rather clichéd. Thrillingly so, but still caught in a false humanism that is at the root of the very violence she so deplores. We should all share her outrage at injustice. But outrage has limited aesthetic and political value. There’s nowhere for the play to go but intensely felt sentimentality. And as we’re learning in 21st century America, sentiment and righteousness are shaky, dangerous guides to a more humane world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Shotgun Players’ production of ‘Blasted’ runs through Sunday, Oct. 22, at the Ashby Stage in Berkeley. For tickets and information \u003ca href=\"https://shotgunplayers.org/online/blasted\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Ain't Too Proud' Desecrates the Temptations at Berkeley Rep",
"headTitle": "‘Ain’t Too Proud’ Desecrates the Temptations at Berkeley Rep | KQED",
"content": "\u003cp>This isn’t so much a review as a lament. It concerns the Berkeley Repertory Theatre’s world premiere of \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Ain’t Too Proud – The Life and Times of the Temptations\u003c/em>\u003c/a>, or as people have been calling it, “The Temptations musical.”\u003c/p>\n\u003cp>As theater it’s awful, a desecration of the spirit and otherworldly talent that coursed through the legendary R&B group over its long history — qualities most notably embodied in singers David Ruffin and Eddie Kendricks, and songwriters Smokey Robinson and Norman Whitfield.\u003c/p>\n\u003cp>But it is as entertainment that the musical is most worrying. High on sensationalism and low in intelligence, the almost three-hour-long production doesn’t leave space for us to think, reflect, or feel in any way. Instead, we must submit to a vision of theater that would rather have an audience of trained seals than human beings interested in other human beings.\u003c/p>\n\u003cfigure id=\"attachment_13809409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809409\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg\" alt=\"Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane Temptation.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane, steady Temptation. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of the problem is how playwright Dominique Morisseau, and director Des McAnuff imagine other people. In many ways, there is only one character in the play, and that’s Otis Williams, the last surviving member of the original Temptations. Williams serves as our narrator for the evening. His book, \u003cem>The Temptations\u003c/em>, provides the basic blueprint for the script.\u003c/p>\n\u003cp>Everything we feel and understand in the show filters through Williams. He was the least talented of the Temptations, but blessed with a knack for moving projects along, whether assembling a group, keeping rehearsals going, or firing problematic members no matter how talented. You could say he’s a man with an iron-clad — though rather self-serving — thesis that he repeats to the point of insanity: The individual is always expendable and the group must be maintained at all costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s an appropriate philosophy for a minor-league talent, or as the Ruffin character rightfully puts it: “No one screams when Otis Williams takes the stage.” And right there is the germ of a tragedy: an ordinarily talented man shares the stage with astounding artists, and is simultaneously seduced by their genius and revolted by their unpredictability. He survives, but the talent doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13809412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg\" alt=\"Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1920x1099.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-520x298.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Ain’t Too Proud\u003c/em> should have been a crazed, searing, R&B \u003cem>Amadeus\u003c/em>. The material is rich and promising. Yet Morisseau, McAnuff, and the producers refuse to let it loose. Instead, they tie the story of the maniacal Williams and the Temptations’ music to the dead aesthetics of the biopic and the jukebox musical, not to mention the false uplift of showbiz success.\u003c/p>\n\u003cp>Every last moment of the group’s long history is noted, as if a play were nothing more than a particularly detailed Wikipedia entry. Each hit song is delivered with maximum effect, but with little of the subtle spirit so present in the original recordings. And the last lines (as I remember them) are something about the Temptations being the most successful R&B group in history, for which the audience dutifully cheered both nights I attended.\u003c/p>\n\u003cp>But the most grievous and telling sin is how the musical adopts Williams’ limited perspective and reduces the many talented and fascinating people around him to buffoonish, cartoon characters.\u003c/p>\n\u003cp>Motown founder Barry Gordy and singer Diana Ross, as well as Robinson, Ruffin and Kendricks, all come across as little more than children. In innumerable scenes, the creative team portrays these greats as simpletons, conniving hucksters, and angry fools.\u003c/p>\n\u003cfigure id=\"attachment_13809415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg\" alt=\"In 'Ain't Too Proud' Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Frankling (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don't particularly come to life on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Ain’t Too Proud’ Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Franklin (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don’t particularly come to life on stage. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What they’re never allowed to be is recognizably human. Even when the show expresses empathy and a sense of loss, the aesthetics are pure soap opera and eschew the bitter complexities of tragedy. When Martin Luther King Jr.’s assassination breezes by, you realize how terrified the musical’s creators are of letting the audience rest and stay in a moment. Why couldn’t the night of the assassination be the whole piece?\u003c/p>\n\u003cp>None of this is the fault of the exceptionally talented performers. They’re a wonder and should be applauded for everything they bring to the stage.\u003c/p>\n\u003cp>What we should lament is the sheer waste of time, energy, and talent, and the way the Temptations’ music has been hijacked for what is clearly a brazen attempt at a Broadway hit. This is the only way \u003cem>Ain’t Too Proud\u003c/em> makes sense — not as art, but as a money trap for Times Square tourists.\u003c/p>\n\u003cfigure id=\"attachment_13809417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg\" alt=\"The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope) Paul Williams (James Harkness), Otis Williams (Derrick Baskin) and Melvin Franklin (Jared Joseph) were hitmakers who made art.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope), Paul Williams (James Harkness), Otis Williams (Derrick Baskin), and Melvin Franklin (Jared Joseph) were hitmakers who also made art. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Rep has amazing theatrical resources. The institution’s stagecraft and technicians are exceptional. The talent and tools are all on display here, from the rotating sets, to the complex video projections, to the sound design worthy of a stadium concert.\u003c/p>\n\u003cp>But with \u003cem>Ain’t Too Proud\u003c/em>, it’s all in the service of the theatrical equivalent of baby food laced with sugar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ain’t Too Proud’ runs through Sunday, Nov. 5. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org/index.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This isn’t so much a review as a lament. It concerns the Berkeley Repertory Theatre’s world premiere of \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Ain’t Too Proud – The Life and Times of the Temptations\u003c/em>\u003c/a>, or as people have been calling it, “The Temptations musical.”\u003c/p>\n\u003cp>As theater it’s awful, a desecration of the spirit and otherworldly talent that coursed through the legendary R&B group over its long history — qualities most notably embodied in singers David Ruffin and Eddie Kendricks, and songwriters Smokey Robinson and Norman Whitfield.\u003c/p>\n\u003cp>But it is as entertainment that the musical is most worrying. High on sensationalism and low in intelligence, the almost three-hour-long production doesn’t leave space for us to think, reflect, or feel in any way. Instead, we must submit to a vision of theater that would rather have an audience of trained seals than human beings interested in other human beings.\u003c/p>\n\u003cfigure id=\"attachment_13809409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809409\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg\" alt=\"Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane Temptation.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane, steady Temptation. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of the problem is how playwright Dominique Morisseau, and director Des McAnuff imagine other people. In many ways, there is only one character in the play, and that’s Otis Williams, the last surviving member of the original Temptations. Williams serves as our narrator for the evening. His book, \u003cem>The Temptations\u003c/em>, provides the basic blueprint for the script.\u003c/p>\n\u003cp>Everything we feel and understand in the show filters through Williams. He was the least talented of the Temptations, but blessed with a knack for moving projects along, whether assembling a group, keeping rehearsals going, or firing problematic members no matter how talented. You could say he’s a man with an iron-clad — though rather self-serving — thesis that he repeats to the point of insanity: The individual is always expendable and the group must be maintained at all costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an appropriate philosophy for a minor-league talent, or as the Ruffin character rightfully puts it: “No one screams when Otis Williams takes the stage.” And right there is the germ of a tragedy: an ordinarily talented man shares the stage with astounding artists, and is simultaneously seduced by their genius and revolted by their unpredictability. He survives, but the talent doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13809412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg\" alt=\"Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1920x1099.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-520x298.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Ain’t Too Proud\u003c/em> should have been a crazed, searing, R&B \u003cem>Amadeus\u003c/em>. The material is rich and promising. Yet Morisseau, McAnuff, and the producers refuse to let it loose. Instead, they tie the story of the maniacal Williams and the Temptations’ music to the dead aesthetics of the biopic and the jukebox musical, not to mention the false uplift of showbiz success.\u003c/p>\n\u003cp>Every last moment of the group’s long history is noted, as if a play were nothing more than a particularly detailed Wikipedia entry. Each hit song is delivered with maximum effect, but with little of the subtle spirit so present in the original recordings. And the last lines (as I remember them) are something about the Temptations being the most successful R&B group in history, for which the audience dutifully cheered both nights I attended.\u003c/p>\n\u003cp>But the most grievous and telling sin is how the musical adopts Williams’ limited perspective and reduces the many talented and fascinating people around him to buffoonish, cartoon characters.\u003c/p>\n\u003cp>Motown founder Barry Gordy and singer Diana Ross, as well as Robinson, Ruffin and Kendricks, all come across as little more than children. In innumerable scenes, the creative team portrays these greats as simpletons, conniving hucksters, and angry fools.\u003c/p>\n\u003cfigure id=\"attachment_13809415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg\" alt=\"In 'Ain't Too Proud' Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Frankling (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don't particularly come to life on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Ain’t Too Proud’ Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Franklin (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don’t particularly come to life on stage. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What they’re never allowed to be is recognizably human. Even when the show expresses empathy and a sense of loss, the aesthetics are pure soap opera and eschew the bitter complexities of tragedy. When Martin Luther King Jr.’s assassination breezes by, you realize how terrified the musical’s creators are of letting the audience rest and stay in a moment. Why couldn’t the night of the assassination be the whole piece?\u003c/p>\n\u003cp>None of this is the fault of the exceptionally talented performers. They’re a wonder and should be applauded for everything they bring to the stage.\u003c/p>\n\u003cp>What we should lament is the sheer waste of time, energy, and talent, and the way the Temptations’ music has been hijacked for what is clearly a brazen attempt at a Broadway hit. This is the only way \u003cem>Ain’t Too Proud\u003c/em> makes sense — not as art, but as a money trap for Times Square tourists.\u003c/p>\n\u003cfigure id=\"attachment_13809417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg\" alt=\"The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope) Paul Williams (James Harkness), Otis Williams (Derrick Baskin) and Melvin Franklin (Jared Joseph) were hitmakers who made art.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope), Paul Williams (James Harkness), Otis Williams (Derrick Baskin), and Melvin Franklin (Jared Joseph) were hitmakers who also made art. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Rep has amazing theatrical resources. The institution’s stagecraft and technicians are exceptional. The talent and tools are all on display here, from the rotating sets, to the complex video projections, to the sound design worthy of a stadium concert.\u003c/p>\n\u003cp>But with \u003cem>Ain’t Too Proud\u003c/em>, it’s all in the service of the theatrical equivalent of baby food laced with sugar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ain’t Too Proud’ runs through Sunday, Nov. 5. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org/index.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Honey Mahogany's Queer Black Variety Show for Everyone",
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"headTitle": "Honey Mahogany’s Queer Black Variety Show for Everyone | KQED",
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"content": "\u003cp>In the back of The Stud bar, bodies covered in sweat crowd the stage. Beneath a glittering disco ball, to the boom of screams and applause, Honey Mahogany appears from behind the curtain to reveal a black leather dress and boots up to her knees, her third costume change of the night.\u003c/p>\n\u003cp>This is no ordinary Friday night in September — it’s the kickoff of Folsom Street Fair weekend, which for tonight’s crowd might as well be an official San Francisco holiday. As she switches roles from lip-syncing Beyoncé hits to hostess, Mahogany reminds partygoers of the method to the proverbial madness. “I want you all to know that Black Fridays is special not just because it is a black variety show,” she says, “but also because we give all the proceeds to the Transgender Cultural District!” \u003c/p>\n\u003cfigure id=\"attachment_13809527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809527\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany sits at Mission Pie for an interview on Sept. 14. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with KQED, Mahogany says she created the monthly variety show as a space for queer and transgender people of color to perform. Since its debut in April of this year, it’s brought a mix of drag artists, burlesque dancers, musicians, spoken-word artists and comedians. Though the show draws a diverse crowd of attendees, Mahogany created it as an outlet for specifically black performers to be celebrated.\u003c/p>\n\u003cp>“It’s a show by black people, of black people, for everybody,” Mahogany says. “It’s also about welcoming non-black people into that space and being like ‘This is what we’re about, and this is who we are. Celebrate this with us.’”\u003c/p>\n\u003cfigure id=\"attachment_13809534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Militia Towers takes to the Black Fridays stage for the first time on Sept.22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s still this weird 80’s-style diversity, where if you have at least one of something other than your standard white person, then you’re diverse,” says Alotta Boutté, a performer who brings a mix of cabaret and burlesque to Black Fridays. “Something like Black Fridays normalizes the actual reality that there are many of us out here trying to perform and bring our heart to people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Five years ago, Mahogany — fresh from her run as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em> — began hosting \u003cem>Drag Race\u003c/em> viewing parties called “Mahogany Mondays.” Occasionally, she would host “Black Out” Mondays featuring all black performers, which morphed into what is now “Black Fridays,” every fourth Friday at The Stud.\u003c/p>\n\u003cfigure id=\"attachment_13809954\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg\" alt=\"Bionka Simone enters the stage for Black Fridays on Sept. 22.\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13809954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone enters the stage for Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Stud is an eclectic, 51-year-old gay bar that Mahogany \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/how-the-stud-was-saved/\" rel=\"noopener\" target=\"_blank\">co-owns with 17 other people\u003c/a>. After its rent nearly tripled, The Stud was purchased by the collective a year ago to preserve the bar and its place in the community.\u003c/p>\n\u003cp>“The Stud has always been a very queer space and a place for artists, a place for people who didn’t necessarily identify with the more mainstream gay culture,” Mahogany says. The venue is unique in being not just a gay man’s space, but also a space for women, trans and gender nonconforming people, making it the ideal venue for Black Fridays, she adds.\u003c/p>\n\u003cp>“In San Francisco, we really live within this bubble of liberalism, but it’s almost like because we feel like we live in this bubble we feel like we are above racism and sexism,” Mahogany says. “Whether we realize it or not, we all feed into these oppressive systems. I just wanted to put the focus on that.”\u003c/p>\n\u003cfigure id=\"attachment_13809533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany slips dollar bills into the pocket of her co-host, Lance Holman on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a native San Franciscan growing up attending Catholic school, social service has long been a part of Mahogany’s life. She became involved in LGBTQ causes in college at USC and earned a Master’s in Social Work at UC Berkeley. Mahogany went to work as a social worker in the Bay Area with homeless youth and the LGBTQ community after graduating.\u003c/p>\n\u003cp>“My life has a lot of swinging back and forth between drag and social work, and somehow I always end up doing both,” Mahogany says. “I can never leave either one behind for very long.”\u003c/p>\n\u003cp>An activist in the neighborhood, Mahogany helped lead the fight to establish the Compton’s Transgender Cultural District in the Tenderloin, which is now slated to kickstart in October. Black Fridays have thus far raised roughly $3,000 for the effort.\u003c/p>\n\u003cfigure id=\"attachment_13809955\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg\" alt=\"Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13809955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Honey Mahogany is an absolute treasure to have in San Francisco, she sets the bar really high,” says Qween (Travis Santell Rowland), a drag queen and spoken-word artist who has performed at several Black Fridays. “I think that she provides a very nurturing environment, both backstage and when she presents us to go onstage.”\u003c/p>\n\u003cp>Bouteé agrees. “A bunch of us were talking about this backstage… when you’re in such a close, intimate setting with a bunch of other white performers, you don’t fully understand how much you withhold of yourself,” she says. “I really appreciate those moments when there’s more than one of us backstage and you can be a little bit more yourself.”\u003c/p>\n\u003cfigure id=\"attachment_13809531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alotta Boutté lip-syncs to Ike and Tina Turner’s “I’m Yours” on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the audience hungry for more at The Stud, Mahogany draws back the curtain to announce Bouteé, her “drag daddy” and the final performer of the evening.\u003c/p>\n\u003cp>Dressed in a vibrant grape-colored skin tight dress, Boutté comes out gagged and wearing cuffs on her hands and feet. As the music to Ike and Tina Turner’s “I’m Yours” blares, dollars bills rain on her as an audience member releases her from the restraints and delivers a bill to Boutté’s mouth straight from between her teeth. Boutté shimmies across the stage and belts her lip-sync, exuding a magic that the audience grabs onto and eventually takes to the dance floor until the early hours of 4am.\u003c/p>\n\u003cp>A little bit more yourself, indeed.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more on Honey Mahogany and Black Fridays, follow her \u003ca href=\"https://www.facebook.com/honeymahoganyofficialfanpage/\" rel=\"noopener\" target=\"_blank\">official fan page\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the back of The Stud bar, bodies covered in sweat crowd the stage. Beneath a glittering disco ball, to the boom of screams and applause, Honey Mahogany appears from behind the curtain to reveal a black leather dress and boots up to her knees, her third costume change of the night.\u003c/p>\n\u003cp>This is no ordinary Friday night in September — it’s the kickoff of Folsom Street Fair weekend, which for tonight’s crowd might as well be an official San Francisco holiday. As she switches roles from lip-syncing Beyoncé hits to hostess, Mahogany reminds partygoers of the method to the proverbial madness. “I want you all to know that Black Fridays is special not just because it is a black variety show,” she says, “but also because we give all the proceeds to the Transgender Cultural District!” \u003c/p>\n\u003cfigure id=\"attachment_13809527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809527\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany sits at Mission Pie for an interview on Sept. 14. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with KQED, Mahogany says she created the monthly variety show as a space for queer and transgender people of color to perform. Since its debut in April of this year, it’s brought a mix of drag artists, burlesque dancers, musicians, spoken-word artists and comedians. Though the show draws a diverse crowd of attendees, Mahogany created it as an outlet for specifically black performers to be celebrated.\u003c/p>\n\u003cp>“It’s a show by black people, of black people, for everybody,” Mahogany says. “It’s also about welcoming non-black people into that space and being like ‘This is what we’re about, and this is who we are. Celebrate this with us.’”\u003c/p>\n\u003cfigure id=\"attachment_13809534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Militia Towers takes to the Black Fridays stage for the first time on Sept.22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s still this weird 80’s-style diversity, where if you have at least one of something other than your standard white person, then you’re diverse,” says Alotta Boutté, a performer who brings a mix of cabaret and burlesque to Black Fridays. “Something like Black Fridays normalizes the actual reality that there are many of us out here trying to perform and bring our heart to people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five years ago, Mahogany — fresh from her run as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em> — began hosting \u003cem>Drag Race\u003c/em> viewing parties called “Mahogany Mondays.” Occasionally, she would host “Black Out” Mondays featuring all black performers, which morphed into what is now “Black Fridays,” every fourth Friday at The Stud.\u003c/p>\n\u003cfigure id=\"attachment_13809954\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg\" alt=\"Bionka Simone enters the stage for Black Fridays on Sept. 22.\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13809954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone enters the stage for Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Stud is an eclectic, 51-year-old gay bar that Mahogany \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/how-the-stud-was-saved/\" rel=\"noopener\" target=\"_blank\">co-owns with 17 other people\u003c/a>. After its rent nearly tripled, The Stud was purchased by the collective a year ago to preserve the bar and its place in the community.\u003c/p>\n\u003cp>“The Stud has always been a very queer space and a place for artists, a place for people who didn’t necessarily identify with the more mainstream gay culture,” Mahogany says. The venue is unique in being not just a gay man’s space, but also a space for women, trans and gender nonconforming people, making it the ideal venue for Black Fridays, she adds.\u003c/p>\n\u003cp>“In San Francisco, we really live within this bubble of liberalism, but it’s almost like because we feel like we live in this bubble we feel like we are above racism and sexism,” Mahogany says. “Whether we realize it or not, we all feed into these oppressive systems. I just wanted to put the focus on that.”\u003c/p>\n\u003cfigure id=\"attachment_13809533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany slips dollar bills into the pocket of her co-host, Lance Holman on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a native San Franciscan growing up attending Catholic school, social service has long been a part of Mahogany’s life. She became involved in LGBTQ causes in college at USC and earned a Master’s in Social Work at UC Berkeley. Mahogany went to work as a social worker in the Bay Area with homeless youth and the LGBTQ community after graduating.\u003c/p>\n\u003cp>“My life has a lot of swinging back and forth between drag and social work, and somehow I always end up doing both,” Mahogany says. “I can never leave either one behind for very long.”\u003c/p>\n\u003cp>An activist in the neighborhood, Mahogany helped lead the fight to establish the Compton’s Transgender Cultural District in the Tenderloin, which is now slated to kickstart in October. Black Fridays have thus far raised roughly $3,000 for the effort.\u003c/p>\n\u003cfigure id=\"attachment_13809955\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg\" alt=\"Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13809955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Honey Mahogany is an absolute treasure to have in San Francisco, she sets the bar really high,” says Qween (Travis Santell Rowland), a drag queen and spoken-word artist who has performed at several Black Fridays. “I think that she provides a very nurturing environment, both backstage and when she presents us to go onstage.”\u003c/p>\n\u003cp>Bouteé agrees. “A bunch of us were talking about this backstage… when you’re in such a close, intimate setting with a bunch of other white performers, you don’t fully understand how much you withhold of yourself,” she says. “I really appreciate those moments when there’s more than one of us backstage and you can be a little bit more yourself.”\u003c/p>\n\u003cfigure id=\"attachment_13809531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alotta Boutté lip-syncs to Ike and Tina Turner’s “I’m Yours” on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the audience hungry for more at The Stud, Mahogany draws back the curtain to announce Bouteé, her “drag daddy” and the final performer of the evening.\u003c/p>\n\u003cp>Dressed in a vibrant grape-colored skin tight dress, Boutté comes out gagged and wearing cuffs on her hands and feet. As the music to Ike and Tina Turner’s “I’m Yours” blares, dollars bills rain on her as an audience member releases her from the restraints and delivers a bill to Boutté’s mouth straight from between her teeth. Boutté shimmies across the stage and belts her lip-sync, exuding a magic that the audience grabs onto and eventually takes to the dance floor until the early hours of 4am.\u003c/p>\n\u003cp>A little bit more yourself, indeed.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more on Honey Mahogany and Black Fridays, follow her \u003ca href=\"https://www.facebook.com/honeymahoganyofficialfanpage/\" rel=\"noopener\" target=\"_blank\">official fan page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On the Air: Cy and Matias' Do List Picks for Sept. 29, 2017",
"headTitle": "On the Air: Cy and Matias’ Do List Picks for Sept. 29, 2017 | KQED",
"content": "\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">cat is back\u003c/a>, but thanks to the mice (Suzie Racho and Gabe Meline) for \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">filling in last week\u003c/a>. Also thanks to \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> Director Matias Tarnopolsky for joining me this week as co-host. Listen to the show (with all the podcast extras) above, and click on the links below for more details on the this week’s picks.\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 1:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxi\" target=\"_blank\" rel=\"noopener\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in Berlioz’s \u003cem>Symphonie Fantastique.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWxu\" target=\"_blank\" rel=\"noopener\">The Berkeley Symphony welcomes back Music Director Joana Carneiro for a concert featuring a world premiere by a talented young Australian composer.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 29: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWy7\" target=\"_blank\" rel=\"noopener\">The Cutting Ball Theater revives Paula Vogel’s \u003cem>The Mineola Twins, \u003c/em>a timely comedy about the rise of radical politics and feminism from the age of Eisenhower through the first Bush.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxJ\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents that rarest of classical hat tricks, a new piece for baroque orchestra, the U.S. premiere of Sally Beamish’s \u003cem>The Judas Passion\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWwX\" target=\"_blank\" rel=\"noopener\">Myra Melford is a relentlessly creative pianist and educator with a gig at the Red Poppy Art House.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWy0\" target=\"_blank\" rel=\"noopener\">Renaissance troubadour Billy Bragg is on a book tour for \u003cem>Roots, Radicals and Rockers: How Skiffle Changed the World, \u003c/em>his tribute to the roots of British rock.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 9–11:\u003c/strong> \u003ca href=\"http://www.lw3.com/itinerary\" target=\"_blank\" rel=\"noopener\">Loudon Wainwright is another terrific singer-songwriter out with a book, this one a memoir about his philandering ways.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The Do List's picks this week include Billy Bragg, Myra Melford, some twins on the feminist barricades, and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">cat is back\u003c/a>, but thanks to the mice (Suzie Racho and Gabe Meline) for \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">filling in last week\u003c/a>. Also thanks to \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> Director Matias Tarnopolsky for joining me this week as co-host. Listen to the show (with all the podcast extras) above, and click on the links below for more details on the this week’s picks.\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 1:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxi\" target=\"_blank\" rel=\"noopener\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in Berlioz’s \u003cem>Symphonie Fantastique.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWxu\" target=\"_blank\" rel=\"noopener\">The Berkeley Symphony welcomes back Music Director Joana Carneiro for a concert featuring a world premiere by a talented young Australian composer.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 29: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWy7\" target=\"_blank\" rel=\"noopener\">The Cutting Ball Theater revives Paula Vogel’s \u003cem>The Mineola Twins, \u003c/em>a timely comedy about the rise of radical politics and feminism from the age of Eisenhower through the first Bush.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxJ\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents that rarest of classical hat tricks, a new piece for baroque orchestra, the U.S. premiere of Sally Beamish’s \u003cem>The Judas Passion\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Twenty-three years after the lights dimmed for its final movie screening, the dormant Presidio Theatre is coming back to life as a state-of-the art multipurpose venue.\u003c/p>\n\u003cp>The Presidio Theatre officially broke ground on the renovation at a ceremony Wednesday morning, months after it was officially announced in June. The restoration will largely be funded by the Margaret E. Haas Fund.\u003c/p>\n\u003cp>The $30 million-revival of the theater, which will be one of the last buildings to be restored on the Presidio’s Main Post, will hearken back to the original Spanish neo-colonial architecture of the building when it was originally built in 1939.\u003c/p>\n\u003cp>“We’re excited to put one of our historic sites back into service,” said Joshua Bagley, the head of real estate development for the Presidio Trust.\u003c/p>\n\u003cp>Structural additions, like two new pavilions, a landscaped courtyard and below-grade space on the theater’s west side, will adhere closely to the building’s established design and visual aesthetic. Others are largely for reasons of accessibility, such as seating and restrooms that are compliant with Americans with Disabilities Act (ADA) regulations.\u003c/p>\n\u003cfigure id=\"attachment_13809813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC-800x450.jpg\" alt=\"Archival photo of the Presidio Theatre in 1950\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13809813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Theater-exterior-ca-1950-credit-GGNRA-PARC-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Archival photo of the Presidio Theatre in 1950 \u003ccite>(Courtesy of the Presidio Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater’s expansions will also move it forward towards becoming a retreat for dancers, playwrights and other creatives who may otherwise be priced out of staging events in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A new nonprofit will be in charge of operating and funding the theater, which, according to a document issued by the Presidio Trust, will generate revenue “through a combination of facility rental fees, ticket sales and fundraising.”\u003c/p>\n\u003cp>In addition to the aesthetic enhancements, the Presidio Theatre’s stage will be expanded from a single-screen theater to a larger stage to accommodate full-scale productions. This stage expansion means less seating, but its affordability means a greater diversity of performing arts that the theater can host, according to Bagley.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[The Presidio Theatre] will be an affordable rental venue to have a variety of performing arts — theater, dance, musical performances, community events,” he said. “And we’ll still have the ability to hold film screenings.”\u003c/p>\n\n",
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"content": "\u003cp>Gustavo Arellano’s longtime column “\u003ca href=\"http://www.ocweekly.com/topic/ask-a-mexican-6568416\" target=\"_blank\" rel=\"noopener\">¡Ask a Mexican!\u003c/a>” originated in the \u003cem>O.C. Weekly\u003c/em>, but soon became syndicated around the country for its mix of humor, insight, and irreverence. (Recent entry: “Why Are Mexican Women So Jealous of Successful Mexican Women?”)\u003c/p>\n\u003cp>Now, Denver playwright Anthony Garcia is turning “¡Ask a Mexican!” into a play, launching a series of workshops around the country that kicks off \u003ca href=\"https://www.eventbrite.com/e/reading-of-ask-a-mexican-tickets-34700651583\" target=\"_blank\" rel=\"noopener\">on Sept. 22 at MACLA in San Jose\u003c/a>. Before readings in Albuquerque, Denver, and Pueblo, Colorado, Garcia brings his script-in-progress to South Bay audiences — and he’s hoping you’ll bring your input. Audience participation and response are all part of the show, which is a reasonable $5–$10. Garcia and Arellano host a Q&A afterward with the cast of the play, which includes Irene Burgos, Lorenzo Gonzalez, Andrea Rodriguez, David Terminal, and Daniel Valdez (who you may have seen in \u003cem>Zoot Suit\u003c/em> or \u003cem>La Bamba\u003c/em>). \u003ca href=\"https://www.eventbrite.com/e/reading-of-ask-a-mexican-tickets-34700651583\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gustavo Arellano’s longtime column “\u003ca href=\"http://www.ocweekly.com/topic/ask-a-mexican-6568416\" target=\"_blank\" rel=\"noopener\">¡Ask a Mexican!\u003c/a>” originated in the \u003cem>O.C. Weekly\u003c/em>, but soon became syndicated around the country for its mix of humor, insight, and irreverence. (Recent entry: “Why Are Mexican Women So Jealous of Successful Mexican Women?”)\u003c/p>\n\u003cp>Now, Denver playwright Anthony Garcia is turning “¡Ask a Mexican!” into a play, launching a series of workshops around the country that kicks off \u003ca href=\"https://www.eventbrite.com/e/reading-of-ask-a-mexican-tickets-34700651583\" target=\"_blank\" rel=\"noopener\">on Sept. 22 at MACLA in San Jose\u003c/a>. Before readings in Albuquerque, Denver, and Pueblo, Colorado, Garcia brings his script-in-progress to South Bay audiences — and he’s hoping you’ll bring your input. Audience participation and response are all part of the show, which is a reasonable $5–$10. Garcia and Arellano host a Q&A afterward with the cast of the play, which includes Irene Burgos, Lorenzo Gonzalez, Andrea Rodriguez, David Terminal, and Daniel Valdez (who you may have seen in \u003cem>Zoot Suit\u003c/em> or \u003cem>La Bamba\u003c/em>). \u003ca href=\"https://www.eventbrite.com/e/reading-of-ask-a-mexican-tickets-34700651583\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character",
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"content": "\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Despite compelling music, dance and design, there is simply no overcoming the emptiness of the American in Christopher Wheeldon's 'An American in Paris.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4tor0TADs3Q\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>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\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/4tor0TADs3Q'\n title='//www.youtube.com/embed/4tor0TADs3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Fall Theater Preview: The Dramas are Bursting with Extravagant Traumas!",
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"headTitle": "Fall Theater Preview: The Dramas are Bursting with Extravagant Traumas! | KQED",
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"content": "\u003cp>You just can’t get away from thinking about the state of the nation these days. If many of us couldn’t have imagined President Donald Trump, then no one could have imagined the sheer breadth, scope, and creativity of his performance. There’s a predetermined air to most presidencies that Trump has shattered — no more bland, good guys in well-intentioned dramas, the type of aesthetic slop Broadway and the Regional theater system has been spoon feeding us for years. Here’s the real thing.\u003c/p>\n\u003cp>For liberals and the progressive left, he’s a character worthy of the most horrific of Euripides’ tragedies. Brazenly crass, tuned in to the nation like a divining fork, and as nimble a political player as Shakespeare’s Richard the Third. For some conservatives and many in red America, Trump is an epic hero, blasting through years of political corruption and cultural stasis. And so in that spirit of mutual miscomprehension, here are six theatrical events that will never let you rest easy and challenge everything that you might understand of our great American drama, both theatrical and political.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807254\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-800x423.jpg\" alt=\"Ian the journalist (Robert Parsons) starts to feel the heat in 'Blasted' by Sarah Kane.\" width=\"800\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-800x423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-768x406.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-1020x539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-1920x1015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-1180x624.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-960x508.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-520x275.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian the journalist (Robert Parsons) starts to feel the heat in ‘Blasted’ by Sarah Kane. \u003ccite>(Photo: Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Blasted\u003c/em>\u003c/h3>\n\u003ch5>Sept. 21 – Oct. 22\u003cbr>\nAshby Stage, Berkeley.\u003cbr>\n\u003ca href=\"https://shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The late Sarah Kane’s \u003cem>Blasted\u003c/em> is one of those plays that everyone knows and no one has seen — a bright diamond that’s just out of reach. Since it was first produced upstairs at the Royal Court Theater in 1995, its reputation as a piece of fiery provocation, an incoherent scream, a nasty piece of filth, a sharp political commentary, and much more, has grown. That Kane died so young after hanging herself with her shoelaces has added that “what could’ve been”-feeling to her work, and added more weight to \u003cem>Blasted\u003c/em>, her first play.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807256\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-800x444.jpg\" alt=\"Playwright Thomas Bradshaw always has fun, no matter how bad it gets.\" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-768x426.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-1020x566.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-1920x1065.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-1180x655.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-960x533.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-375x208.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-520x288.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Thomas Bradshaw always has fun, no matter how bad it gets. \u003ccite>(Photo: David Paul Morris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>There’s always a Joke\u003c/em> with Thomas Bradshaw\u003c/h3>\n\u003ch5>Sept. 28 – Oct. 22\u003cbr>\nMarin Theatre Company, Mill Valley\u003cbr>\n\u003ca href=\"http://www.marintheatre.org\">More Information\u003c/a>\u003c/h5>\n\u003cp>Thomas Bradshaw is the most gleeful nihilist in American theater and one can only imagine — though soon we won’t have to — what he’ll do with Thomas Jefferson’as and Sally Hemings’ romance. (Or is it an affair? Abduction?) For Bradshaw, the difference between affair and romance are small, and if \u003cem>Thomas and Sally\u003c/em> comes even half close to his other plays, I’m not sure what the Marin Theater Company audience will do. So, let’s hope for the worst, because that’s always the best when it comes to Bradshaw.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807260\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807260\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/theatre-de-la-ville-paris-state-of-siege-2-e1504304122583.jpg\" alt=\"Things get strange during a military takeover in 'Stage of Siege' by Albert Camus.\" width=\"800\" height=\"337\">\u003cfigcaption class=\"wp-caption-text\">Things get strange during a military takeover in ‘Stage of Siege’ by Albert Camus. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>State of Siege\u003c/em>\u003c/h3>\n\u003ch5>Nov. 10 and 11\u003cbr>\nZellerbach Hall, Berkeley.\u003cbr>\n\u003ca href=\"https://calperformances.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>France’s Theatre de la Ville came to Cal Performances in 2014 with an astonishing production of Luigi Pirandello’s \u003cem>Six Characters in Search of an Author.\u003c/em> Now they’re back with Albert Camus’ \u003cem>State of Siege\u003c/em>. Written in 1948, Camus certainly had any number of totalitarian regimes in mind and would certainly be dismayed at the number of burgeoning autocracies he’d have to choose from now. As with \u003cem>The Plague\u003c/em> and \u003cem>The Rebel\u003c/em>, Camus’ concerns aren’t so much with the dictator as they are with the individuals who make up the resistance. What will they do? What should you do?\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807267\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807267\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-800x450.jpg\" alt=\"Taylor Mac sings the song of America.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac sings the song of America. \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>‘A 24-Decade History of Popular Music’ with Taylor Mac\u003c/em>\u003c/h3>\n\u003ch5>Sept. 15-24\u003cbr>\nCurran Theater, San Francisco\u003cbr>\n\u003ca href=\"https://sfcurran.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Performance artist, playwright, and drag queen Taylor Mac’s work has always seemed caught between the formal constraints of the theater and the need to have a party — a very long party. Somehow, he’s managed to take all his talents and merge them into one brilliant freak out in his masterful, \u003cem>A 24-Decade History of Popular Music\u003c/em>. It’s so many wonderful things at once, and the only way to describe it is to say that you will experience a perfectly-balanced abundance.\u003c/p>\n\u003cp>Taking an hour for every decade of American popular music (which would mean whatever was popular at the time), \u003cem>24-Decade\u003c/em> is brilliant theater, a stunning upside down take on our history, and a Herculean act of energy and imagination, all at once. Performed in six-hour chunks, this dares our minds and souls to confront our history, and address a divided nation in crisis.\u003c/p>\n\u003cp>\u003cem>There is also a three-hour abridged performance at Bing Concert Hall at Stanford University on Sept. 27. For tickets and information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807278\" class=\"wp-caption alignleft\" style=\"max-width: 797px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807278\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1.jpg\" alt=\"One of the many sly images from 'Refuse the Hour' by William Kentridge.\" width=\"797\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1.jpg 797w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1-520x293.jpg 520w\" sizes=\"(max-width: 797px) 100vw, 797px\">\u003cfigcaption class=\"wp-caption-text\">One of the many sly images from ‘Refuse the Hour’ by William Kentridge. \u003ccite>(Photo: John Hodgkiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>William Kentridge’s \u003cem>Refuse the Hour\u003c/em>\u003c/h3>\n\u003ch5>Nov. 10 and 11\u003cbr>\nGeary Theater, San Francisco.\u003cbr>\n\u003ca href=\"http://www.act-sf.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>If you ask me, one of the best pieces of ongoing theater in San Francisco occurs in a small corner room at SFMOMA. There you can see an approximately 20-minute long shadow puppet performance of Mozart’s \u003cem>The Magic Flute\u003c/em> by the great South African artist William Kentridge who, as you might guess, understands a thing or two about political injustice. His 2012 piece \u003cem>The Refusal of Time,\u003c/em> which plays one floor up at SFMOMA and is equally entrancing.\u003c/p>\n\u003cp>For those who prefer a theater setting, ACT will present a fully-staged companion piece to \u003ci>Refusal\u003c/i> at the Geary Theater, for two nights only. Titled \u003cem>Refuse the Hour,\u003c/em> the piece is an opportunity to see Kentridge out of the gallery and in full maximalist mode.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807994\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807994\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg\" alt='(L to R) Sabrina Wenske and Cara McClendon in \"You Fuckin Earned It\" at the SF Fringe Festival.' width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-1020x579.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-960x545.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-520x295.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570.jpg 1049w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sabrina Wenske and Cara McClendon in “You Fuckin Earned It” at the SF Fringe Festival. \u003ccite>(Courtesy Shoot That Clown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The SF Fringe Festival\u003c/h3>\n\u003ch5>Sept. 8 – 23\u003cbr>\n\u003ca href=\"http://www.sffringe.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Exit Theater’s SF Fringe Festival is a mammoth event, with over 120 performances in 15 days. It’s mostly composed of many small pieces — at least 35 different shows, with a large number being them one-person outings. It is a model of the collective, loosely associated, challenging the dominance of institutions. Here is the unfiltered id of our culture, crazed, raw, and demanding an audience. There’s as much straight talk as there is foolishness, as much shocking material as there are amateur antics, and as much stunning visions as there is schlock. It is simply a festival of everything and a countervailing chaos to the anarchy of our present moment.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "This fall season, the theater world has some serious competition with all the drama going on in the world of politics. But many Bay Area theaters are meeting the challenge.",
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"title": "Fall Theater Preview: The Dramas are Bursting with Extravagant Traumas! | KQED",
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"headline": "Fall Theater Preview: The Dramas are Bursting with Extravagant Traumas!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You just can’t get away from thinking about the state of the nation these days. If many of us couldn’t have imagined President Donald Trump, then no one could have imagined the sheer breadth, scope, and creativity of his performance. There’s a predetermined air to most presidencies that Trump has shattered — no more bland, good guys in well-intentioned dramas, the type of aesthetic slop Broadway and the Regional theater system has been spoon feeding us for years. Here’s the real thing.\u003c/p>\n\u003cp>For liberals and the progressive left, he’s a character worthy of the most horrific of Euripides’ tragedies. Brazenly crass, tuned in to the nation like a divining fork, and as nimble a political player as Shakespeare’s Richard the Third. For some conservatives and many in red America, Trump is an epic hero, blasting through years of political corruption and cultural stasis. And so in that spirit of mutual miscomprehension, here are six theatrical events that will never let you rest easy and challenge everything that you might understand of our great American drama, both theatrical and political.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807254\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-800x423.jpg\" alt=\"Ian the journalist (Robert Parsons) starts to feel the heat in 'Blasted' by Sarah Kane.\" width=\"800\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-800x423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-768x406.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-1020x539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-1920x1015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-1180x624.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-960x508.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/blasted_rehearsal-22-e1504302598765-520x275.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian the journalist (Robert Parsons) starts to feel the heat in ‘Blasted’ by Sarah Kane. \u003ccite>(Photo: Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Blasted\u003c/em>\u003c/h3>\n\u003ch5>Sept. 21 – Oct. 22\u003cbr>\nAshby Stage, Berkeley.\u003cbr>\n\u003ca href=\"https://shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The late Sarah Kane’s \u003cem>Blasted\u003c/em> is one of those plays that everyone knows and no one has seen — a bright diamond that’s just out of reach. Since it was first produced upstairs at the Royal Court Theater in 1995, its reputation as a piece of fiery provocation, an incoherent scream, a nasty piece of filth, a sharp political commentary, and much more, has grown. That Kane died so young after hanging herself with her shoelaces has added that “what could’ve been”-feeling to her work, and added more weight to \u003cem>Blasted\u003c/em>, her first play.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807256\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-800x444.jpg\" alt=\"Playwright Thomas Bradshaw always has fun, no matter how bad it gets.\" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-768x426.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-1020x566.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-1920x1065.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-1180x655.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-960x533.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-375x208.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T.-Bradshaw-Headshot-e1504303068586-520x288.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Thomas Bradshaw always has fun, no matter how bad it gets. \u003ccite>(Photo: David Paul Morris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>There’s always a Joke\u003c/em> with Thomas Bradshaw\u003c/h3>\n\u003ch5>Sept. 28 – Oct. 22\u003cbr>\nMarin Theatre Company, Mill Valley\u003cbr>\n\u003ca href=\"http://www.marintheatre.org\">More Information\u003c/a>\u003c/h5>\n\u003cp>Thomas Bradshaw is the most gleeful nihilist in American theater and one can only imagine — though soon we won’t have to — what he’ll do with Thomas Jefferson’as and Sally Hemings’ romance. (Or is it an affair? Abduction?) For Bradshaw, the difference between affair and romance are small, and if \u003cem>Thomas and Sally\u003c/em> comes even half close to his other plays, I’m not sure what the Marin Theater Company audience will do. So, let’s hope for the worst, because that’s always the best when it comes to Bradshaw.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807260\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807260\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/theatre-de-la-ville-paris-state-of-siege-2-e1504304122583.jpg\" alt=\"Things get strange during a military takeover in 'Stage of Siege' by Albert Camus.\" width=\"800\" height=\"337\">\u003cfigcaption class=\"wp-caption-text\">Things get strange during a military takeover in ‘Stage of Siege’ by Albert Camus. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>State of Siege\u003c/em>\u003c/h3>\n\u003ch5>Nov. 10 and 11\u003cbr>\nZellerbach Hall, Berkeley.\u003cbr>\n\u003ca href=\"https://calperformances.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>France’s Theatre de la Ville came to Cal Performances in 2014 with an astonishing production of Luigi Pirandello’s \u003cem>Six Characters in Search of an Author.\u003c/em> Now they’re back with Albert Camus’ \u003cem>State of Siege\u003c/em>. Written in 1948, Camus certainly had any number of totalitarian regimes in mind and would certainly be dismayed at the number of burgeoning autocracies he’d have to choose from now. As with \u003cem>The Plague\u003c/em> and \u003cem>The Rebel\u003c/em>, Camus’ concerns aren’t so much with the dictator as they are with the individuals who make up the resistance. What will they do? What should you do?\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807267\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807267\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-800x450.jpg\" alt=\"Taylor Mac sings the song of America.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/taylor_mac_quick-18-e1504304975858-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac sings the song of America. \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>‘A 24-Decade History of Popular Music’ with Taylor Mac\u003c/em>\u003c/h3>\n\u003ch5>Sept. 15-24\u003cbr>\nCurran Theater, San Francisco\u003cbr>\n\u003ca href=\"https://sfcurran.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Performance artist, playwright, and drag queen Taylor Mac’s work has always seemed caught between the formal constraints of the theater and the need to have a party — a very long party. Somehow, he’s managed to take all his talents and merge them into one brilliant freak out in his masterful, \u003cem>A 24-Decade History of Popular Music\u003c/em>. It’s so many wonderful things at once, and the only way to describe it is to say that you will experience a perfectly-balanced abundance.\u003c/p>\n\u003cp>Taking an hour for every decade of American popular music (which would mean whatever was popular at the time), \u003cem>24-Decade\u003c/em> is brilliant theater, a stunning upside down take on our history, and a Herculean act of energy and imagination, all at once. Performed in six-hour chunks, this dares our minds and souls to confront our history, and address a divided nation in crisis.\u003c/p>\n\u003cp>\u003cem>There is also a three-hour abridged performance at Bing Concert Hall at Stanford University on Sept. 27. For tickets and information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807278\" class=\"wp-caption alignleft\" style=\"max-width: 797px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807278\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1.jpg\" alt=\"One of the many sly images from 'Refuse the Hour' by William Kentridge.\" width=\"797\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1.jpg 797w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Refuse-the-Hour-Sept2011-John-Hodgkiss401-1-520x293.jpg 520w\" sizes=\"(max-width: 797px) 100vw, 797px\">\u003cfigcaption class=\"wp-caption-text\">One of the many sly images from ‘Refuse the Hour’ by William Kentridge. \u003ccite>(Photo: John Hodgkiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>William Kentridge’s \u003cem>Refuse the Hour\u003c/em>\u003c/h3>\n\u003ch5>Nov. 10 and 11\u003cbr>\nGeary Theater, San Francisco.\u003cbr>\n\u003ca href=\"http://www.act-sf.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>If you ask me, one of the best pieces of ongoing theater in San Francisco occurs in a small corner room at SFMOMA. There you can see an approximately 20-minute long shadow puppet performance of Mozart’s \u003cem>The Magic Flute\u003c/em> by the great South African artist William Kentridge who, as you might guess, understands a thing or two about political injustice. His 2012 piece \u003cem>The Refusal of Time,\u003c/em> which plays one floor up at SFMOMA and is equally entrancing.\u003c/p>\n\u003cp>For those who prefer a theater setting, ACT will present a fully-staged companion piece to \u003ci>Refusal\u003c/i> at the Geary Theater, for two nights only. Titled \u003cem>Refuse the Hour,\u003c/em> the piece is an opportunity to see Kentridge out of the gallery and in full maximalist mode.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807994\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807994\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg\" alt='(L to R) Sabrina Wenske and Cara McClendon in \"You Fuckin Earned It\" at the SF Fringe Festival.' width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-1020x579.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-960x545.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-520x295.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570.jpg 1049w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sabrina Wenske and Cara McClendon in “You Fuckin Earned It” at the SF Fringe Festival. \u003ccite>(Courtesy Shoot That Clown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The SF Fringe Festival\u003c/h3>\n\u003ch5>Sept. 8 – 23\u003cbr>\n\u003ca href=\"http://www.sffringe.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Exit Theater’s SF Fringe Festival is a mammoth event, with over 120 performances in 15 days. It’s mostly composed of many small pieces — at least 35 different shows, with a large number being them one-person outings. It is a model of the collective, loosely associated, challenging the dominance of institutions. Here is the unfiltered id of our culture, crazed, raw, and demanding an audience. There’s as much straight talk as there is foolishness, as much shocking material as there are amateur antics, and as much stunning visions as there is schlock. It is simply a festival of everything and a countervailing chaos to the anarchy of our present moment.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Christopher Wheeldon's 'An American in Paris' Swings into SF",
"headTitle": "Christopher Wheeldon’s ‘An American in Paris’ Swings into SF | KQED",
"content": "\u003cp>For his work on the musical \u003ca href=\"https://www.shnsf.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An American in Paris\u003c/em>\u003c/a>, Christopher Wheeldon won a Tony award for Best Choreography in 2015. This adaptation of the 1951 Gene Kelly film was the celebrated British ballet dancer and choreographer’s first time directing for the Broadway stage.\u003c/p>\n\u003cp>In advance of \u003cem>An American in Paris\u003c/em> beginning a run at the Orpheum Theatre in San Francisco on Tuesday, Sept. 12, KQED spoke with Wheeldon about the production. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Songs by George and Ira Gershwin, like “‘S Wonderful,” inspired you, in part, to take on this project. How did you go about incorporating their music?\u003c/strong>\u003c/p>\n\u003cp>It’s interesting you brought up that song because I was just watching \u003cem>Funny Face\u003c/em> and the opening credits to the film include “’S Wonderful.” It’s an oft-sung song. In the context of our show though, we were looking for ways to make all of these songs feel like they were written for \u003cem>An American in Paris\u003c/em>. When of course they weren’t.\u003c/p>\n\u003cfigure id=\"attachment_13806463\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Spangler, McGee Maddox, and Etai Benson in ‘An American in Paris’. (Photo: Matthew Murphy)\u003c/figcaption>\u003c/figure>\n\u003cp>We felt that it was a great way for our three principal men to express the fact that they were all in love with the same girl. It just lent itself beautifully to that part of the story. It’s fun to hear it sung by three men and the male chorus. The ladies join in at the end, but it’s primarily a male-dominated song. It’s staged with a lot of movement — three guys in three different locations, all singing about the same girl.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of the songs that we ended up using we felt served the story, or we found a way for us to weave our story around them. It was just a process of elimination, and then tailoring the story to work with the lyrics.\u003c/p>\n\u003cp>\u003cstrong>As a choreographer for the ballet, how did your approach to dance differ when creating a Broadway musical?\u003c/strong>\u003c/p>\n\u003cp>The challenge of choreographing for a musical is it has to serve the story. It’s quite often treated as second-class citizen, which in this show it isn’t, thankfully. One of the reasons why I agreed to do the show is because the producers were really keen on the choreography being a primary storytelling language.\u003c/p>\n\u003cfigure id=\"attachment_13806465\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806465\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘An American in Paris’ Touring Company (Photo: Matthew Murphy)\u003c/figcaption>\u003c/figure>\n\u003cp>Dance acts as an equal partner. Obviously, the book scenes are very important, as are the songs. You’re dealing with three different ways of telling a story and integrating them to make a successful whole. Whereas at the ballet, it’s all about the dance. You’re not worrying about how long the book scene should be, or if the dance is too long to work with the song, or whether we’re overstaying our welcome in the dance. In making a musical, it’s about balance between those different elements.\u003c/p>\n\u003cp>\u003cstrong>As you began to choreograph, did you review Gene Kelly’s performance as Jerry in the film?\u003c/strong>\u003c/p>\n\u003cp>I didn’t study his performance in \u003cem>An American in Paris.\u003c/em> It was not one of my favorites. I liked \u003cem>Singin’ in the Rain,\u003c/em> which was my absolute, all-time favorite when I was growing up. I didn’t have a huge opinion on Kelly’s performance in the movie because we decided from the get-go that we were going to make our Jerry something quite different. I only went back to watch the movie after we had already opened in Paris.\u003c/p>\n\u003cfigure id=\"attachment_13806464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">McGee Maddox, Sara Esty and the ‘An American in Paris’ Touring Company. (Photo: Matthew Murphy )\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The New Yorker\u003c/em> dance critic Joan Acocella wrote that your work with Wendy Whelan at New York City Ballet transformed her from “a rather dry dancer” into a tragic heroine. Could you speak to how you work with dancers?\u003c/strong>\u003c/p>\n\u003cp>Writers will always find ways of expressing how they feel about a particular artist. I never set out to turn Wendy into a tragic heroine, but somehow it’s as much about what they unlock in me as it is about what I unlock in them.\u003c/p>\n\u003cp>People see different things because we work so much in the abstract in ballet. It’s so open to interpretation, whereas something like \u003cem>An American in Paris\u003c/em> is less that way because you’re telling a story and there are parameters that you have to fit within.\u003c/p>\n\u003cp>\u003cstrong>Do you miss the feeling of dancing on stage?\u003c/strong>\u003c/p>\n\u003cp>I do it in the studio enough. I don’t miss the pressures of having to do it as part of a performance. I still have that expressive outlet in front of my cast, or when I’m creating. I certainly don’t miss performing in front of an audience.\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>\n\u003cp>\u003cem>‘An American in Paris’ plays at the Orpheum Theatre in San Francisco from Tuesday, Sep. 12 through Sunday, Oct. 8. More information \u003ca href=\"https://www.shnsf.com\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Directed by the celebrated British ballet dancer and choreographer, the Tony Award-winning Broadway show opens at the Orpheum Theatre this week. ",
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"title": "Christopher Wheeldon's 'An American in Paris' Swings into SF | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For his work on the musical \u003ca href=\"https://www.shnsf.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An American in Paris\u003c/em>\u003c/a>, Christopher Wheeldon won a Tony award for Best Choreography in 2015. This adaptation of the 1951 Gene Kelly film was the celebrated British ballet dancer and choreographer’s first time directing for the Broadway stage.\u003c/p>\n\u003cp>In advance of \u003cem>An American in Paris\u003c/em> beginning a run at the Orpheum Theatre in San Francisco on Tuesday, Sept. 12, KQED spoke with Wheeldon about the production. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Songs by George and Ira Gershwin, like “‘S Wonderful,” inspired you, in part, to take on this project. How did you go about incorporating their music?\u003c/strong>\u003c/p>\n\u003cp>It’s interesting you brought up that song because I was just watching \u003cem>Funny Face\u003c/em> and the opening credits to the film include “’S Wonderful.” It’s an oft-sung song. In the context of our show though, we were looking for ways to make all of these songs feel like they were written for \u003cem>An American in Paris\u003c/em>. When of course they weren’t.\u003c/p>\n\u003cfigure id=\"attachment_13806463\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0416.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Spangler, McGee Maddox, and Etai Benson in ‘An American in Paris’. (Photo: Matthew Murphy)\u003c/figcaption>\u003c/figure>\n\u003cp>We felt that it was a great way for our three principal men to express the fact that they were all in love with the same girl. It just lent itself beautifully to that part of the story. It’s fun to hear it sung by three men and the male chorus. The ladies join in at the end, but it’s primarily a male-dominated song. It’s staged with a lot of movement — three guys in three different locations, all singing about the same girl.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of the songs that we ended up using we felt served the story, or we found a way for us to weave our story around them. It was just a process of elimination, and then tailoring the story to work with the lyrics.\u003c/p>\n\u003cp>\u003cstrong>As a choreographer for the ballet, how did your approach to dance differ when creating a Broadway musical?\u003c/strong>\u003c/p>\n\u003cp>The challenge of choreographing for a musical is it has to serve the story. It’s quite often treated as second-class citizen, which in this show it isn’t, thankfully. One of the reasons why I agreed to do the show is because the producers were really keen on the choreography being a primary storytelling language.\u003c/p>\n\u003cfigure id=\"attachment_13806465\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806465\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_Tour-0181.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘An American in Paris’ Touring Company (Photo: Matthew Murphy)\u003c/figcaption>\u003c/figure>\n\u003cp>Dance acts as an equal partner. Obviously, the book scenes are very important, as are the songs. You’re dealing with three different ways of telling a story and integrating them to make a successful whole. Whereas at the ballet, it’s all about the dance. You’re not worrying about how long the book scene should be, or if the dance is too long to work with the song, or whether we’re overstaying our welcome in the dance. In making a musical, it’s about balance between those different elements.\u003c/p>\n\u003cp>\u003cstrong>As you began to choreograph, did you review Gene Kelly’s performance as Jerry in the film?\u003c/strong>\u003c/p>\n\u003cp>I didn’t study his performance in \u003cem>An American in Paris.\u003c/em> It was not one of my favorites. I liked \u003cem>Singin’ in the Rain,\u003c/em> which was my absolute, all-time favorite when I was growing up. I didn’t have a huge opinion on Kelly’s performance in the movie because we decided from the get-go that we were going to make our Jerry something quite different. I only went back to watch the movie after we had already opened in Paris.\u003c/p>\n\u003cfigure id=\"attachment_13806464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/AAIP_TOUR_0582.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">McGee Maddox, Sara Esty and the ‘An American in Paris’ Touring Company. (Photo: Matthew Murphy )\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The New Yorker\u003c/em> dance critic Joan Acocella wrote that your work with Wendy Whelan at New York City Ballet transformed her from “a rather dry dancer” into a tragic heroine. Could you speak to how you work with dancers?\u003c/strong>\u003c/p>\n\u003cp>Writers will always find ways of expressing how they feel about a particular artist. I never set out to turn Wendy into a tragic heroine, but somehow it’s as much about what they unlock in me as it is about what I unlock in them.\u003c/p>\n\u003cp>People see different things because we work so much in the abstract in ballet. It’s so open to interpretation, whereas something like \u003cem>An American in Paris\u003c/em> is less that way because you’re telling a story and there are parameters that you have to fit within.\u003c/p>\n\u003cp>\u003cstrong>Do you miss the feeling of dancing on stage?\u003c/strong>\u003c/p>\n\u003cp>I do it in the studio enough. I don’t miss the pressures of having to do it as part of a performance. I still have that expressive outlet in front of my cast, or when I’m creating. I certainly don’t miss performing in front of an audience.\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>\n\u003cp>\u003cem>‘An American in Paris’ plays at the Orpheum Theatre in San Francisco from Tuesday, Sep. 12 through Sunday, Oct. 8. More information \u003ca href=\"https://www.shnsf.com\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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