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"title": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character",
"headTitle": "Gorgeous ‘An American in Paris’ Musical has Soulless Lead Character | KQED",
"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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"title": "On the Air: Cy and Jeffrey's Do List Picks for Sept. 8, 2017",
"headTitle": "On the Air: Cy and Jeffrey’s Do List Picks for Sept. 8, 2017 | KQED",
"content": "\u003cp>This week we welcome \u003cem>SF Weekly\u003c/em> theater columnist Jeffrey Edalatpour for a preview of the fall’s most intriguing plays, many of which tackle issues of race, sexuality, and religion. The list includes Taylor’s Mac’s epic “radical faerie” take on American history, as well as a play so violent it comes with trigger warnings and a world premiere musical about what may be the greatest soul band ever, The Temptations.\u003c/p>\n\u003cp>\u003cstrong>Sept. 15–27:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVYZ\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac brings his epic \u003cem>24-Decade History of Popular Music\u003c/em> back to the Bay Area.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZ5\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Bradshaw’s \u003cem>Thomas and Sally\u003c/em> at the Marin Theatre Company goes under the covers with our founding fathers and their bedmates in a world premiere.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26–Nov. 11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZB\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse presents Robert O’Hara’s \u003cem>Barbecue\u003c/em>, a play about a family intervention and race\u003cb>.\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 8–23: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZO\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Fringe Festival showcases more than 30 plays from the silly to serious.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–Oct. 7:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW0K\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Chen’s \u003cem>A Tale of Autumn\u003c/em> tells a tale of corporate succession recalling Shakespeare and Game of Thrones\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 21–Oct. 22:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blasted\u003c/em> at Shotgun Players takes us into a horrifying bedroom in the midst of a war zone. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 12–Oct. 8:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW0B\" target=\"_blank\" rel=\"noopener noreferrer\"> Adapting \u003cem>An American in Paris\u003c/em> for the stage and getting it right. Maybe.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–Nov. 5: \u003c/strong>\u003ca href=\"https://theatreworks.org/201718-season/201718-season/prince-of-egypt/\" target=\"_blank\" rel=\"noopener noreferrer\">The Exodus story as imagined by Dreamworks and adapted into a stage musical.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 31–-Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW08\" target=\"_blank\" rel=\"noopener noreferrer\">The story of the greatest soul band ever at Berkeley Rep.\u003c/a>\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cp>\u003cstrong>Sept. 8–23:\u003c/strong> The San Francisco Fringe Festival, now in its 26th year, always offers a range of plays from from silly to serious. This year even the more ridiculous ones seem politically charged. \u003cem>Hitler in the Green Room\u003c/em>, by local playwright K.S. Haddock, went after what looked like a soft target, with his story of a Jewish Drag queen taking the Fuehrer’s place when he falls ill. Then the terrible events of \u003ca href=\"http://www.npr.org/tags/536249267/charlottesville\" target=\"_blank\" rel=\"noopener noreferrer\">Charlottesville \u003c/a>made Haddock nervous about the production. “But then we bolstered ourselves,” Haddock said, “with the idea that satire is the best, strongest criticism in the face of awfulness of the alt-right. What it did is really change it to a more activist show, and to give a middle finger to the fascists who might shut us down.” Other highlights among the 30-plus shows include \u003cem>Reclaiming Vietnam\u003c/em>, playwright Kim Chinh’s story of learning to take pride in her Vietnamese heritage, and \u003cem>$wampland\u003c/em>, in which seven Bay Area playwrights write short one-acts about how to \u003cem>truly\u003c/em> make America great again. \u003ca href=\"http://www.sffringe.org/september-8-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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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"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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"order": 9
},
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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": {
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"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",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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": {
"id": "how-i-built-this",
"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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},
"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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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": {
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"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"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": {
"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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"rss": "https://feeds.npr.org/510360/podcast.xml"
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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",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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