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"content": "\u003cp>\u003cstrong>Sept. 26-Nov. 11: \u003c/strong>Robert O’Hara plays a theater game here with what works out to be a big payoff. In this San Francisco Playhouse production, O’Hara presents an intervention at a family barbecue, first with a white family playing out their dysfunctional relationships, and then a black family in the same setting and situation.\u003c/p>\n\u003cfigure id=\"attachment_13807630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-800x450.jpg\" alt=\"Halili Knox and Adrian Roberts star in the SF Playhouse production of 'Barbecue'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox and Adrian Roberts star in the SF Playhouse production of ‘Barbecue.’ \u003ccite>(Photo: Ken Levin/SF Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>O’Hara, a gay, black playwright, is always good at upending our prejudices and preconceptions about family and race, and this structure should give him lots of room to make audiences squirm. Bay Area theater veteran Margo Hall does a terrific job playing a role and directing the dual casts, It’s funny and touching, and very real. \u003ca href=\"https://www.sfplayhouse.org/sfph/2017-2018-season/barbecue/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/239897633\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>Sept. 28–Oct. 22:\u003c/strong> The politics of race, religion and sex have been omnipresent in our culture this past year, and its reflection can be found in many plays opening on Bay Area stages this fall. \u003ca href=\"http://www.marintheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Marin Theatre Company\u003c/a> is offering a world premiere of \u003ca href=\"https://en.wikipedia.org/wiki/Thomas_Bradshaw_(playwright)\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Bradshaw\u003c/a>’s play \u003cem>Thomas and Sally\u003c/em>, about Thomas Jefferson and his slave Sally Hemings, who bore him six children. Bradshaw’s plays are always in-your-face: explicit about sex, and politics, and very funny and nasty. He’s also African-American, so he’s among the playwrights I’m most keen to see deconstruct this founding father, whose slaveholding ways and personal life mocked many of the values he so eloquently expressed in the Declaration of Independence. Bradshaw promises as well to take us into the beds of Ben Franklin, John and Abigail Adams, and the Marquis de Lafayette. I can’t wait. \u003ca href=\"http://www.marintheatre.org/productions/thomas-and-sally\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807620\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-800x506.jpg\" alt=\"Tara Pacheco is Sally Hemings and Mark Anderson Phillips plays Thomas Jefferson in Thomas Bradshaw’s play ‘Thomas and Sally’\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Pacheco is Sally Hemings and Mark Anderson Phillips plays Thomas Jefferson in Thomas Bradshaw’s play ‘Thomas and Sally.’ \u003ccite>(Photo: Courtesy of Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Sept. 28–Oct. 22:\u003c/strong> The politics of race, religion and sex have been omnipresent in our culture this past year, and its reflection can be found in many plays opening on Bay Area stages this fall. \u003ca href=\"http://www.marintheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Marin Theatre Company\u003c/a> is offering a world premiere of \u003ca href=\"https://en.wikipedia.org/wiki/Thomas_Bradshaw_(playwright)\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Bradshaw\u003c/a>’s play \u003cem>Thomas and Sally\u003c/em>, about Thomas Jefferson and his slave Sally Hemings, who bore him six children. Bradshaw’s plays are always in-your-face: explicit about sex, and politics, and very funny and nasty. He’s also African-American, so he’s among the playwrights I’m most keen to see deconstruct this founding father, whose slaveholding ways and personal life mocked many of the values he so eloquently expressed in the Declaration of Independence. Bradshaw promises as well to take us into the beds of Ben Franklin, John and Abigail Adams, and the Marquis de Lafayette. I can’t wait. \u003ca href=\"http://www.marintheatre.org/productions/thomas-and-sally\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807620\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-800x506.jpg\" alt=\"Tara Pacheco is Sally Hemings and Mark Anderson Phillips plays Thomas Jefferson in Thomas Bradshaw’s play ‘Thomas and Sally’\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thomas-and-Sally-Rehersal-Pacheco-and-Phillips.-e1504731461199-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Pacheco is Sally Hemings and Mark Anderson Phillips plays Thomas Jefferson in Thomas Bradshaw’s play ‘Thomas and Sally.’ \u003ccite>(Photo: Courtesy of Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness",
"headTitle": "Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness | KQED",
"content": "\u003cp>Just as the summer is winding down, along come two plays — strange fever dreams that jolt our sense of the good and the bad.\u003c/p>\n\u003cp>These world premieres — Kirsten Greenidge’s \u003cem>Zenith\u003c/em>, under the auspices of the SF Playhouse’s Sandbox series, and noted Bay Area playwright Philip Kan Gotanda’s \u003cem>Rashomon\u003c/em>, produced by the always-resourceful Ubuntu Theater Project — are welcome reminders that dread is a special emotion that should never be underestimated, even in the waning days of our brightest season.\u003c/p>\n\u003ch2>\u003cem>Zenith\u003c/em>: A no-escape tragedy\u003c/h2>\n\u003cfigure id=\"attachment_13806771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg\" alt=\"Angela (Atim Udoffia) caught in the haunted guise of a failed saint.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674.jpg 997w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela (Atim Udoffia) caught in the haunted guise of a failed saint. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Zenith\u003c/em> is a no-escape tragedy whose brutality is a function of increasing knowledge. The play begins with Angela (a remarkable Atim Udoffia), a woman who is overcome with terror when she gets a glimpse of one of those majestic baby chairs that the Whole Foods class loves. You know right away that things are going to end badly and that knowledge shades every moment that follows.\u003c/p>\n\u003cp>Angela turns out to be Aunt Angela, and she’s trying to convince her uptight and wealthier sister-in-law, Hazel, that what Hazel’s three girls need is a camping trip with their fun-loving, freedom-inspiring aunt. The hidden jabs of privilege and class slip through what should be a light-hearted conversation between two African-American women. After all, they’ve both managed to secure some part of what we might still call the American dream.\u003c/p>\n\u003cp>When Hazel panics at Angela giving her daughters knives, Angela’s response is an odd mix of concern, moral certainty, and aggression: “You cannot baby them you can not,” the character says. “My dad had us using those things when we were four. I told the girls we’ll bust them out first thing, so they’re getting them.” There it is, the first hint of pride that will destroy our hero, a woman who has lived a life of unparalleled goodness, a saint of sacrifice and shepherd of hope.\u003c/p>\n\u003cfigure id=\"attachment_13806773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg\" alt=\"Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun.\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-960x530.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-375x207.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-520x287.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenidge understands that a life of good deeds is just as likely to end in total havoc as it will in graceful thanks and warm testimonials. At times her vision of Angela’s fall feels over-determined in the play’s headlong rush to tragedy, but at its best moments \u003cem>Zenith\u003c/em> bristles with a disarming naturalism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can feel it in the way the exceptionally talented cast seems to live calmly on the edge of disaster, as if their characters never quite imagine the dangers we so easily intuit. And then when the world comes crashing down, that quality is still there in the off-handed way they express great and lasting loss. It’s a languid, horrid vision of everyday despair and a primer on what happens when your most trusted saint cracks and fails.\u003c/p>\n\u003ch2>\u003cem>Rashomon\u003c/em>: A slippery treatise on the power of lying\u003c/h2>\n\u003cfigure id=\"attachment_13806802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg\" alt=\"The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620.jpg 1899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again. \u003ccite>(Photo:)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akira Kurosowa’s \u003cem>Rashomon\u003c/em> has become cultural shorthand for the notion that everyone has a different take on the truth. Phillip Kan Gotanda’s adaptation of the famous 1950 what’s-actually-going-on-here crime film suggests that everyone lies to protect the truth and that the lies keep us from the disaster of total revelation. Or, flipped upside down, lies are the paradise we wish to preserve — and everything else, true or not, is filigree, a bit of honey, butter, and fancy flourishes to keep us going.\u003c/p>\n\u003cp>Like Kurosawa’s film, Gotanda gives us two sets of narrators — a priest, a woodcutter, and a wigmaker who tell the story of another set of narrators — a bandit, a samurai, and the samurai’s wife. The supposed questions are: who killed the samurai and why is everyone eager, including the dead samurai, to take the credit?\u003c/p>\n\u003cp>We also get another narrator, a writer, Akutagawa, an odd young man overly invested in these stories. He exists outside the main timeframe, might even be the creator of everything before us. Or for reasons undetermined, the samurai’s death might be overtaking him. Whatever the case, he’s fun. He mumbles the lines at the edge of the stage, comments on the action, finds some things gross, others enticing. He gets a kick out of the lies, and because he does, so do we.\u003c/p>\n\u003cfigure id=\"attachment_13807318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807318\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg\" alt=\"The Samurai (Jomar Tagatac) is pensive and should be in 'Rashomon' by Phillip Kan Gotanda.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Samurai (Jomar Tagatac) is pensive and should be in ‘Rashomon’ by Phillip Kan Gotanda. \u003ccite>(Photo: Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gotanda can be a vexing writer, capable of graceful bits of daring and clunky exposition within the same scene. His \u003cem>Rashomon\u003c/em> jumps off the rails at least five times and then jumps right back on with equal force and vision. Michael Socrates Moran’s visually astute direction and a strong cast mute some of the play’s imperfections, but what carries the day is Gotanda’s outrage at a world of venal storytellers.\u003c/p>\n\u003cp>That their lies are also glorious, intoxicating, and kind of fun is more than a bit disquieting. It was the way of the world then, and it is the way of the world now.\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>\u003cem>‘Zenith’ runs through Sunday, Sept. 10 at the Costume Shop in San Francisco. For tickets and information \u003ca href=\"https://www.sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rashomon’ runs through Sunday, Sept. 17 at Brooklyn Grove in Oakland. For tickets and information \u003ca href=\"http://www.ubuntutheaterproject.com/rashomon/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Kirsten Greenidge’s 'Zenith' and Philip Kan Gotanda’s 'Rashomon' are welcome reminders that dread is a special emotion that should never be underestimated.",
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"description": "Kirsten Greenidge’s 'Zenith' and Philip Kan Gotanda’s 'Rashomon' are welcome reminders that dread is a special emotion that should never be underestimated.",
"title": "Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just as the summer is winding down, along come two plays — strange fever dreams that jolt our sense of the good and the bad.\u003c/p>\n\u003cp>These world premieres — Kirsten Greenidge’s \u003cem>Zenith\u003c/em>, under the auspices of the SF Playhouse’s Sandbox series, and noted Bay Area playwright Philip Kan Gotanda’s \u003cem>Rashomon\u003c/em>, produced by the always-resourceful Ubuntu Theater Project — are welcome reminders that dread is a special emotion that should never be underestimated, even in the waning days of our brightest season.\u003c/p>\n\u003ch2>\u003cem>Zenith\u003c/em>: A no-escape tragedy\u003c/h2>\n\u003cfigure id=\"attachment_13806771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg\" alt=\"Angela (Atim Udoffia) caught in the haunted guise of a failed saint.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674.jpg 997w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela (Atim Udoffia) caught in the haunted guise of a failed saint. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Zenith\u003c/em> is a no-escape tragedy whose brutality is a function of increasing knowledge. The play begins with Angela (a remarkable Atim Udoffia), a woman who is overcome with terror when she gets a glimpse of one of those majestic baby chairs that the Whole Foods class loves. You know right away that things are going to end badly and that knowledge shades every moment that follows.\u003c/p>\n\u003cp>Angela turns out to be Aunt Angela, and she’s trying to convince her uptight and wealthier sister-in-law, Hazel, that what Hazel’s three girls need is a camping trip with their fun-loving, freedom-inspiring aunt. The hidden jabs of privilege and class slip through what should be a light-hearted conversation between two African-American women. After all, they’ve both managed to secure some part of what we might still call the American dream.\u003c/p>\n\u003cp>When Hazel panics at Angela giving her daughters knives, Angela’s response is an odd mix of concern, moral certainty, and aggression: “You cannot baby them you can not,” the character says. “My dad had us using those things when we were four. I told the girls we’ll bust them out first thing, so they’re getting them.” There it is, the first hint of pride that will destroy our hero, a woman who has lived a life of unparalleled goodness, a saint of sacrifice and shepherd of hope.\u003c/p>\n\u003cfigure id=\"attachment_13806773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg\" alt=\"Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun.\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-960x530.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-375x207.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-520x287.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenidge understands that a life of good deeds is just as likely to end in total havoc as it will in graceful thanks and warm testimonials. At times her vision of Angela’s fall feels over-determined in the play’s headlong rush to tragedy, but at its best moments \u003cem>Zenith\u003c/em> bristles with a disarming naturalism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can feel it in the way the exceptionally talented cast seems to live calmly on the edge of disaster, as if their characters never quite imagine the dangers we so easily intuit. And then when the world comes crashing down, that quality is still there in the off-handed way they express great and lasting loss. It’s a languid, horrid vision of everyday despair and a primer on what happens when your most trusted saint cracks and fails.\u003c/p>\n\u003ch2>\u003cem>Rashomon\u003c/em>: A slippery treatise on the power of lying\u003c/h2>\n\u003cfigure id=\"attachment_13806802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg\" alt=\"The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620.jpg 1899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again. \u003ccite>(Photo:)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akira Kurosowa’s \u003cem>Rashomon\u003c/em> has become cultural shorthand for the notion that everyone has a different take on the truth. Phillip Kan Gotanda’s adaptation of the famous 1950 what’s-actually-going-on-here crime film suggests that everyone lies to protect the truth and that the lies keep us from the disaster of total revelation. Or, flipped upside down, lies are the paradise we wish to preserve — and everything else, true or not, is filigree, a bit of honey, butter, and fancy flourishes to keep us going.\u003c/p>\n\u003cp>Like Kurosawa’s film, Gotanda gives us two sets of narrators — a priest, a woodcutter, and a wigmaker who tell the story of another set of narrators — a bandit, a samurai, and the samurai’s wife. The supposed questions are: who killed the samurai and why is everyone eager, including the dead samurai, to take the credit?\u003c/p>\n\u003cp>We also get another narrator, a writer, Akutagawa, an odd young man overly invested in these stories. He exists outside the main timeframe, might even be the creator of everything before us. Or for reasons undetermined, the samurai’s death might be overtaking him. Whatever the case, he’s fun. He mumbles the lines at the edge of the stage, comments on the action, finds some things gross, others enticing. He gets a kick out of the lies, and because he does, so do we.\u003c/p>\n\u003cfigure id=\"attachment_13807318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807318\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg\" alt=\"The Samurai (Jomar Tagatac) is pensive and should be in 'Rashomon' by Phillip Kan Gotanda.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Samurai (Jomar Tagatac) is pensive and should be in ‘Rashomon’ by Phillip Kan Gotanda. \u003ccite>(Photo: Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gotanda can be a vexing writer, capable of graceful bits of daring and clunky exposition within the same scene. His \u003cem>Rashomon\u003c/em> jumps off the rails at least five times and then jumps right back on with equal force and vision. Michael Socrates Moran’s visually astute direction and a strong cast mute some of the play’s imperfections, but what carries the day is Gotanda’s outrage at a world of venal storytellers.\u003c/p>\n\u003cp>That their lies are also glorious, intoxicating, and kind of fun is more than a bit disquieting. It was the way of the world then, and it is the way of the world now.\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>\u003cem>‘Zenith’ runs through Sunday, Sept. 10 at the Costume Shop in San Francisco. For tickets and information \u003ca href=\"https://www.sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rashomon’ runs through Sunday, Sept. 17 at Brooklyn Grove in Oakland. For tickets and information \u003ca href=\"http://www.ubuntutheaterproject.com/rashomon/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Why citizenship?” is the central question for \u003cem>Transform\u003c/em>, a new biannual festival at the \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> — an institution that takes its civic responsibilities very seriously in the age of Trump, especially regarding his attempts to deport the undocumented and limit immigration. \u003cem>Transform\u003c/em> features the work of nine local artists, with a lot of dance, including new works by \u003ca href=\"http://asimagery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Seiwert\u003c/a> and her company, drag queen \u003ca href=\"http://www.fauxnique.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Fauxnique\u003c/a>, and Sandra Lawson Ndu, a singer and composer with the band \u003ca href=\"https://www.facebook.com/hearbellsmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Bells Atlas\u003c/a>. The festival runs Sept. 14–23 at YBCA; \u003ca href=\"https://ybca.org/whats-on/transform-fall17\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VVzqDKGiwK0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Campo Santo Channels Banksy and Descartes in 'Ethos de Masquerade'",
"headTitle": "Campo Santo Channels Banksy and Descartes in ‘Ethos de Masquerade’ | KQED",
"content": "\u003cp>Campo Santo’s beautiful, straightforward, and oblique performance piece \u003ca href=\"https://www.facebook.com/camposantosf/?hc_ref=ART40FT36mTKczAoR-BAgokIB_Bdz961OarpLzrJPVRVTHUIogF3T9T8M08k0lwxsrQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ethos de Masquerade\u003c/em>\u003c/a> begins with choreographer Rashad Pridgen slithering on stage in a costume that makes him resemble something between a street bum and the infamous graffiti artist and anarchist Banksy.\u003c/p>\n\u003cp>That Pridgen’s face is masked, that he seems full of bonhomie with a sly hint of outlaw danger — he’s got a cigar and offers swigs of alcohol to the audience — only adds to the allure. In a show that directly addresses contemporary, hot-button issues such as gentrification, feminism, racial inequality, and AIDS, the thing that dances before our eyes is a mystery.\u003c/p>\n\u003cp>Right from the start, there is a\u003cem> \u003c/em>serious tension between the symbolic and the singular facts of the street that gives \u003cem>Ethos de Masquerade\u003c/em> a strange realism.\u003c/p>\n\u003cfigure id=\"attachment_13806179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg\" alt=\"Rashad Pridgen opens the show masked and armed with a cigar and liquor.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rashad Pridgen opens the show masked and armed with a cigar and liquor. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can feel it in the way the excellent six dancer-actors perform. They seem both an abstraction — dressed alike and almost militaristic in their precision and movements — and a group of friends just casually talking about the world as they stroll through the city. They point to all the ways the city around them has changed and we feel as if we are with them, that they are just friendly guides — “Look up: things are gone.”\u003c/p>\n\u003cp>The performers’ lament isn’t so much an anti-gentrification screed as it is the wonder of a world ripped right out from under them. The delivery is stylized, but it has the feel of casual talk. And that tonal control allows the performers to get away with polemical lines like, “We don’t bury our dead, we build over them,” as well as references to Japanese internment camps and Jonestown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of the pleasure of \u003cem>Ethos de Masquerade\u003c/em> is how it sneaks up on you, how you find yourself in conversation with the piece without the kind of windup you might have in a more traditional play.\u003c/p>\n\u003cp>Pridgen and co-directors Sean San José and Star Finch just let everything move along. And yet, from the performers to the choreography to the design, the production is so self-assured that it seems as if it isn’t happening. Or put another way, the subject matter of the show is one of extreme distress, but the aesthetic is as sly as a Bossa Nova tune.\u003c/p>\n\u003cfigure id=\"attachment_13806162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg\" alt=\"(L to R) Britney Frazier, Dezi Soley, and Delina Patrice Brooks.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Britney Frazier, Dezi Soléy, and Delina Patrice Brooks. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Pridgen conceived of and choreographed the piece, the script is the product of what seems an army of authors — Luis Alfaro, Colman Domingo, co-directors Finch and San José, Chinaka Hodge, A.M. Smiley, and Pridgen. And that’s not even mentioning the fine videography (Joan Osato) and sound design (Juan Wonway Posibul Amador), as well as costumes (Pridgen and Mary Hougue) that literally seem to rise out of the set and the performers’ bodies. If there ever were a piece that challenges forms of authorship and authority, this is it. The collective speaking in concert is what shines here.\u003c/p>\n\u003cp>In the last section, San José tells a story about his mother’s death from AIDS that is as offhand and harrowing as you could imagine. I could devote an entire essay just to the intensity of San José’s eyes; I’m not sure his pupils ever moved. At first, the shift in focus is off-putting. What we’re hearing feels too specific, too much one man’s story. But that story soon encompasses others (patient zero, Sylvester, Reza Abdoh), just as the disease eventually made its way through to the whole of the world.\u003c/p>\n\u003cfigure id=\"attachment_13806182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg\" alt=\"Britney Frazier clothed for a causal and unusual nightclub.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157.jpg 1984w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Britney Frazier clothed for a causal and unusual nightclub. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then we’re invited to a giant nightclub in the sky. Pridgen, in the last of many unbelievable costumes, leads the way, followed and supported by the talented cast, and finally members of the audience. Audience participation is rarely natural. But the night I experienced the show, we weren’t even asked to join; people just spontaneously started dancing.\u003c/p>\n\u003cp>The almost classical construction of \u003cem>Ethos de Masquerade\u003c/em>, its balance of intellectual distance and in-the-moment heat, allows for the seemingly impossible — a nightclub of respect, order, and joy. It’s as if René Descartes had written a dance poem in the form of a beautiful equation: “We think therefore we are.”\u003c/p>\n\u003cp>And the thing that dances, that appears to be us, too.\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>‘Ethos de Masquerade’ runs Friday, Aug. 25 through Sunday, Aug. 27 at the Strand Theater in San Francisco. For tickets and information \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Campo Santo’s beautiful, straightforward, and oblique performance piece \u003ca href=\"https://www.facebook.com/camposantosf/?hc_ref=ART40FT36mTKczAoR-BAgokIB_Bdz961OarpLzrJPVRVTHUIogF3T9T8M08k0lwxsrQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ethos de Masquerade\u003c/em>\u003c/a> begins with choreographer Rashad Pridgen slithering on stage in a costume that makes him resemble something between a street bum and the infamous graffiti artist and anarchist Banksy.\u003c/p>\n\u003cp>That Pridgen’s face is masked, that he seems full of bonhomie with a sly hint of outlaw danger — he’s got a cigar and offers swigs of alcohol to the audience — only adds to the allure. In a show that directly addresses contemporary, hot-button issues such as gentrification, feminism, racial inequality, and AIDS, the thing that dances before our eyes is a mystery.\u003c/p>\n\u003cp>Right from the start, there is a\u003cem> \u003c/em>serious tension between the symbolic and the singular facts of the street that gives \u003cem>Ethos de Masquerade\u003c/em> a strange realism.\u003c/p>\n\u003cfigure id=\"attachment_13806179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg\" alt=\"Rashad Pridgen opens the show masked and armed with a cigar and liquor.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rashad Pridgen opens the show masked and armed with a cigar and liquor. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can feel it in the way the excellent six dancer-actors perform. They seem both an abstraction — dressed alike and almost militaristic in their precision and movements — and a group of friends just casually talking about the world as they stroll through the city. They point to all the ways the city around them has changed and we feel as if we are with them, that they are just friendly guides — “Look up: things are gone.”\u003c/p>\n\u003cp>The performers’ lament isn’t so much an anti-gentrification screed as it is the wonder of a world ripped right out from under them. The delivery is stylized, but it has the feel of casual talk. And that tonal control allows the performers to get away with polemical lines like, “We don’t bury our dead, we build over them,” as well as references to Japanese internment camps and Jonestown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of the pleasure of \u003cem>Ethos de Masquerade\u003c/em> is how it sneaks up on you, how you find yourself in conversation with the piece without the kind of windup you might have in a more traditional play.\u003c/p>\n\u003cp>Pridgen and co-directors Sean San José and Star Finch just let everything move along. And yet, from the performers to the choreography to the design, the production is so self-assured that it seems as if it isn’t happening. Or put another way, the subject matter of the show is one of extreme distress, but the aesthetic is as sly as a Bossa Nova tune.\u003c/p>\n\u003cfigure id=\"attachment_13806162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg\" alt=\"(L to R) Britney Frazier, Dezi Soley, and Delina Patrice Brooks.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Britney Frazier, Dezi Soléy, and Delina Patrice Brooks. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Pridgen conceived of and choreographed the piece, the script is the product of what seems an army of authors — Luis Alfaro, Colman Domingo, co-directors Finch and San José, Chinaka Hodge, A.M. Smiley, and Pridgen. And that’s not even mentioning the fine videography (Joan Osato) and sound design (Juan Wonway Posibul Amador), as well as costumes (Pridgen and Mary Hougue) that literally seem to rise out of the set and the performers’ bodies. If there ever were a piece that challenges forms of authorship and authority, this is it. The collective speaking in concert is what shines here.\u003c/p>\n\u003cp>In the last section, San José tells a story about his mother’s death from AIDS that is as offhand and harrowing as you could imagine. I could devote an entire essay just to the intensity of San José’s eyes; I’m not sure his pupils ever moved. At first, the shift in focus is off-putting. What we’re hearing feels too specific, too much one man’s story. But that story soon encompasses others (patient zero, Sylvester, Reza Abdoh), just as the disease eventually made its way through to the whole of the world.\u003c/p>\n\u003cfigure id=\"attachment_13806182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg\" alt=\"Britney Frazier clothed for a causal and unusual nightclub.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157.jpg 1984w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Britney Frazier clothed for a causal and unusual nightclub. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then we’re invited to a giant nightclub in the sky. Pridgen, in the last of many unbelievable costumes, leads the way, followed and supported by the talented cast, and finally members of the audience. Audience participation is rarely natural. But the night I experienced the show, we weren’t even asked to join; people just spontaneously started dancing.\u003c/p>\n\u003cp>The almost classical construction of \u003cem>Ethos de Masquerade\u003c/em>, its balance of intellectual distance and in-the-moment heat, allows for the seemingly impossible — a nightclub of respect, order, and joy. It’s as if René Descartes had written a dance poem in the form of a beautiful equation: “We think therefore we are.”\u003c/p>\n\u003cp>And the thing that dances, that appears to be us, too.\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>‘Ethos de Masquerade’ runs Friday, Aug. 25 through Sunday, Aug. 27 at the Strand Theater in San Francisco. For tickets and information \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, KQED’s Cy Musiker welcomes Marc Bamuthi Joseph, an artist and curator of performing arts at the Yerba Buena Center for the Arts. The two talk about an ancient masquerade tradition, the art and spirit of Oakland, and a joyous juke joint sound. The podcast also features a visit with Chef Joey Altman, and exposes his secret musical life. Listen to the show above, and click through the links below for details.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>July 26-Aug. 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/everyone-deserves-a-great-moment/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Making of a Great Moment,\u003c/em> a new play, at Z Space in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 9-Sept. 3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/african-american-history-as-a-homeric-odyssey/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Odyssey\u003c/em> at California Shakespeare Theater\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16-27:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/dressing-up-to-honor-ancestors-and-the-black-lives-matter-movement/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Ethos de Masquerade \u003c/em>at the Strand Theater in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16 & 17\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/the-art-soul-and-spirit-of-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\"> The Art and Soul Festival fills downtown Oakland with big crowds and a joyful spirit\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 17-20:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/uncovering-great-jazz-and-rb-of-the-past/\" target=\"_blank\" rel=\"noopener noreferrer\">The Genius of Ray Charles, Nina Simone, Miles Davis and Muscle Shoals at SFJAZZ in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 18:\u003c/strong> \u003ca href=\"http://www.theindependentsf.com/event/1495109-matthew-sweet-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Matthew Sweet at the Independent \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 18, 24, 25:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/soulful-jook-joint-music-from-quinn-deveaux/%E2%80%8E\" target=\"_blank\" rel=\"noopener noreferrer\"> Bluesman Quinn DeVeaux at the New Parish, Armando’s and the David Brower Center\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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},
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"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.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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": {
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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"
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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},
"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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},
"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/",
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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"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
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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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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