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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to know exactly what to expect at Ethos de Masquerade, even after attending a rehearsal of this dance-theater piece. But one thing is sure: it will be beautifully colorful.\u003c/p>\n\u003cp>Ethos de Masquerade is a co-production of the theater group \u003ca href=\"https://www.camposanto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Campo Santo\u003c/a> and \u003ca href=\"http://www.somarts.org/exhibitions/globalstreetdancemasquerade/\" target=\"_blank\" rel=\"noopener noreferrer\">Global Street Dance Masquerade \u003c/a>about the Black Lives Matter movement, the taboos placed on women, and the AIDS epidemic. There are screen projections of starry nights and pulsing blood cells. There are monologues by Campo Santo members Sean San Jose and Starr Finch, playwright Luis Alfaro, poet Chinaka Hodge and others. And then there are dancers in elaborate full-body costumes that harken back to the ancient African masquerade tradition, designed by Global Dance Street Masquerade member Rashad Pridgen and Mary Hogue.\u003c/p>\n\u003cp>The costumes, Pridgen says, conjure the ancestors or call forth the elements: “The Ethos de Masquerade is us bringing back this traditional element into urban society,” Pridgen explains, “and telling stories to express what’s happening to the community that can’t be said with words.” This week’s Do List co-host Marc Bamuthi Joseph says the rich art of Campo Santo and Global Street Dance Masquerade marks them as civic leaders, “creating context for ritual, and helping us see how we can transform our lives through music, movement, and the magic of the mask.” Ethos de Masquerade runs Aug. 16–27 at The Strand in San Francisco; \u003ca href=\"https://www.facebook.com/events/1503434013028940/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>, and \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">tickets here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week’s Do List co-host Marc Bamuthi Joseph liked \u003cem>Black Odyssey\u003c/em> at California Shakespeare Theater so much, he went back the next night with his wife, kids, and in-laws. It’s an adaptation of Homer’s \u003cem>Odyssey\u003c/em> by Marcus Gardley, raised in Oakland, which name-checks everyone from Paw Sidin (Poseidon) and Tiresias to Emmett Till and Tina Turner. Check out KQED theater critic \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/black-odyssey-evokes-emmett-till-hurricane-katrina-and-homer/\">John Wilkins’ review here\u003c/a>. \u003cem>Black Odyssey\u003c/em> runs Aug. 9–Sept. 3 at California Shakespeare Theater; \u003ca href=\"https://tickets.calshakes.org\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "'Black Odyssey' Evokes Emmett Till, Hurricane Katrina... and Homer",
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"content": "\u003cp>The \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a>’s West Coast premiere of Marcus Gardley’s \u003cem>Black Odyssey\u003c/em> is a cause for double celebration: one, for the company’s commitment to a Shakespearian tradition that I wish were a vital part of contemporary American theater and isn’t; and, two, for bringing to full life Gardley’s rather astonishing play, which has the scope, breadth, and vision of Shakespeare’s late romances — \u003cem>The Winter’s Tale\u003c/em>, \u003cem>Cymbeline\u003c/em>, and \u003cem>Pericles\u003c/em>.\u003c/p>\n\u003cp>The play’s power derives principally from the fact that Gardley creates a world of high stakes. And as recent events keep on proving, there is no higher stake than being black in America. Without a hint of didacticism, the play lets us see what is both the principal story of our country, and, strangely, the one we keep on missing.\u003c/p>\n\u003cfigure id=\"attachment_13805516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg\" alt=\"(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln's fate.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln’s fate. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paying an obvious debt to Homer,\u003cem> Black Odyssey\u003c/em> begins with Ulysses Lincoln (a subtle and assured J. Alphonse Nicholson) drumming on those plastic paint buckets of which BART buskers are so fond. Before we know it, Lincoln is swept off the deck of a ship transporting American soldiers from Afghanistan, the victim of the god Paw Sidin’s wrath for killing one of his many sons. Gardley’s ability to write with a swiftness of purpose and focus is striking. Scenes go by with lightning speed, and yet even his most minor characters are vivid and alive, including the gods.\u003c/p>\n\u003cp>As Lincoln struggles to stay alive, his wife Nella Pell — two months pregnant when he leaves for a six-month tour of duty — waits. Even when informed of Lincoln’s disappearance and obvious death, she refuses to lose faith in her husband’s eventual return. Nella Pell will wait many years, struggling to raise their son Malachai with help from Lincoln’s Aunt Tina, who’s really the goddess Athena in disguise, risking her life and good looks to live among mortals.\u003c/p>\n\u003cp>Lincoln’s journey, which follows Odysseus’ so thoroughly, differs from its source in one striking aspect: Odysseus is a product of the elite, a general and head of state, struggling to regain his rightful return to power. Lincoln, along with his beloved Nella Pell, is an orphan and outcaste whose life is an afterthought to the dramas of the state. One might say that before Lincoln even begins his journey he is lost, both to himself and the world around him. And that for him to be saved and return, he must right the myth that he’s living.\u003c/p>\n\u003cfigure id=\"attachment_13805517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg\" alt=\"The family that Ulysses Lincoln must return to -- Great Aunt Tina (Margo Hall), Nella Pell (Omoze Idehenre) and Malachai (Michael Curry) -- is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The family that Ulysses Lincoln must return to — Great Aunt Tina (Margo Hall), Nella Pell (Omozé Idehenre) and Malachai (Michael Curry) — is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea). \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the pagan gods running around \u003cem>Black Odyssey\u003c/em>, the play is suffused with a stringent and embracing vision of Christian redemption. We will be brought back to a loving god and a world of sense when we give ourselves to the truth and our sins. Lincoln is an epic hero, and a victim of all sorts of situations beyond his control. But, more powerfully, he is flawed and capable of great cruelty. He is not an abstraction, but rather a man. And in that insight, Gardley’s drama always soars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Lincoln finds himself lost in an underworld of African-American history unmoored from time — a place where Emmett Till still whistles, Hurricane Katrina never stops flooding New Orleans, the blood of Martin Luther King and Malcolm X hasn’t dried, the Scottsboro boys sit and wait for justice, and the four little girls slaughtered in the 1963 Birmingham church bombing sleep in peace — it is the practical need to make sense of disorder that propels him forward, along with the simple desire that he must return to his family at all costs.\u003c/p>\n\u003cp>The nature of that order is personal, political, and right down to the way the characters speak. After all, language is essential to making sense and locating an authentic self. For a multitude of political reasons, black English is often treated as a derivation of a white standard, but that misses the diversity of black speech itself. In \u003cem>Black Odyssey\u003c/em> you hear all the tenors and rhythms of what one might describe as the polyglot nature of black life in America. Not a derivation, but instead a stunning array of related languages that even African-Americans must at times struggle to navigate.\u003c/p>\n\u003cfigure id=\"attachment_13805519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg\" alt=\"(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together? \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so strewn throughout \u003cem>Black Odyssey\u003c/em>, Gardley gives us several languages: those of the church and street, outrage and moral instruction, and finally a language of dreams that imagines a way out of the long nightmare of racial injustice. They all have different qualities and registers and are sometimes in opposition to each other. But it’s Lincoln’s ability to keep all of these languages going at once that finally frees him to rejoin his family and the world.\u003c/p>\n\u003cp>Gardley’s play is a highly unusual triumph. Buoyed by Eric Ting’s sharp, resourceful direction, an amazing cast, and fluid design work, it’s clear that Cal Shakes has found the Shakespearian spirit in our troubling times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>California Shakespeare Theater’s ‘Black Odyssey’ runs through Sunday, Sep. 3 at the Bruns Amphitheater in Orinda. For tickets and information, \u003ca href=\"http://calshakes.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Marcus Gardley's powerful play creates a world of high stakes. And as recent events prove, there is no higher stake than being black in America.",
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"description": "Marcus Gardley's powerful play creates a world of high stakes. And as recent events prove, there is no higher stake than being black in America.",
"title": "'Black Odyssey' Evokes Emmett Till, Hurricane Katrina... and Homer | KQED",
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"headline": "'Black Odyssey' Evokes Emmett Till, Hurricane Katrina... and Homer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a>’s West Coast premiere of Marcus Gardley’s \u003cem>Black Odyssey\u003c/em> is a cause for double celebration: one, for the company’s commitment to a Shakespearian tradition that I wish were a vital part of contemporary American theater and isn’t; and, two, for bringing to full life Gardley’s rather astonishing play, which has the scope, breadth, and vision of Shakespeare’s late romances — \u003cem>The Winter’s Tale\u003c/em>, \u003cem>Cymbeline\u003c/em>, and \u003cem>Pericles\u003c/em>.\u003c/p>\n\u003cp>The play’s power derives principally from the fact that Gardley creates a world of high stakes. And as recent events keep on proving, there is no higher stake than being black in America. Without a hint of didacticism, the play lets us see what is both the principal story of our country, and, strangely, the one we keep on missing.\u003c/p>\n\u003cfigure id=\"attachment_13805516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg\" alt=\"(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln's fate.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln’s fate. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paying an obvious debt to Homer,\u003cem> Black Odyssey\u003c/em> begins with Ulysses Lincoln (a subtle and assured J. Alphonse Nicholson) drumming on those plastic paint buckets of which BART buskers are so fond. Before we know it, Lincoln is swept off the deck of a ship transporting American soldiers from Afghanistan, the victim of the god Paw Sidin’s wrath for killing one of his many sons. Gardley’s ability to write with a swiftness of purpose and focus is striking. Scenes go by with lightning speed, and yet even his most minor characters are vivid and alive, including the gods.\u003c/p>\n\u003cp>As Lincoln struggles to stay alive, his wife Nella Pell — two months pregnant when he leaves for a six-month tour of duty — waits. Even when informed of Lincoln’s disappearance and obvious death, she refuses to lose faith in her husband’s eventual return. Nella Pell will wait many years, struggling to raise their son Malachai with help from Lincoln’s Aunt Tina, who’s really the goddess Athena in disguise, risking her life and good looks to live among mortals.\u003c/p>\n\u003cp>Lincoln’s journey, which follows Odysseus’ so thoroughly, differs from its source in one striking aspect: Odysseus is a product of the elite, a general and head of state, struggling to regain his rightful return to power. Lincoln, along with his beloved Nella Pell, is an orphan and outcaste whose life is an afterthought to the dramas of the state. One might say that before Lincoln even begins his journey he is lost, both to himself and the world around him. And that for him to be saved and return, he must right the myth that he’s living.\u003c/p>\n\u003cfigure id=\"attachment_13805517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg\" alt=\"The family that Ulysses Lincoln must return to -- Great Aunt Tina (Margo Hall), Nella Pell (Omoze Idehenre) and Malachai (Michael Curry) -- is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The family that Ulysses Lincoln must return to — Great Aunt Tina (Margo Hall), Nella Pell (Omozé Idehenre) and Malachai (Michael Curry) — is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea). \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the pagan gods running around \u003cem>Black Odyssey\u003c/em>, the play is suffused with a stringent and embracing vision of Christian redemption. We will be brought back to a loving god and a world of sense when we give ourselves to the truth and our sins. Lincoln is an epic hero, and a victim of all sorts of situations beyond his control. But, more powerfully, he is flawed and capable of great cruelty. He is not an abstraction, but rather a man. And in that insight, Gardley’s drama always soars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Lincoln finds himself lost in an underworld of African-American history unmoored from time — a place where Emmett Till still whistles, Hurricane Katrina never stops flooding New Orleans, the blood of Martin Luther King and Malcolm X hasn’t dried, the Scottsboro boys sit and wait for justice, and the four little girls slaughtered in the 1963 Birmingham church bombing sleep in peace — it is the practical need to make sense of disorder that propels him forward, along with the simple desire that he must return to his family at all costs.\u003c/p>\n\u003cp>The nature of that order is personal, political, and right down to the way the characters speak. After all, language is essential to making sense and locating an authentic self. For a multitude of political reasons, black English is often treated as a derivation of a white standard, but that misses the diversity of black speech itself. In \u003cem>Black Odyssey\u003c/em> you hear all the tenors and rhythms of what one might describe as the polyglot nature of black life in America. Not a derivation, but instead a stunning array of related languages that even African-Americans must at times struggle to navigate.\u003c/p>\n\u003cfigure id=\"attachment_13805519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg\" alt=\"(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together? \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so strewn throughout \u003cem>Black Odyssey\u003c/em>, Gardley gives us several languages: those of the church and street, outrage and moral instruction, and finally a language of dreams that imagines a way out of the long nightmare of racial injustice. They all have different qualities and registers and are sometimes in opposition to each other. But it’s Lincoln’s ability to keep all of these languages going at once that finally frees him to rejoin his family and the world.\u003c/p>\n\u003cp>Gardley’s play is a highly unusual triumph. Buoyed by Eric Ting’s sharp, resourceful direction, an amazing cast, and fluid design work, it’s clear that Cal Shakes has found the Shakespearian spirit in our troubling times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>California Shakespeare Theater’s ‘Black Odyssey’ runs through Sunday, Sep. 3 at the Bruns Amphitheater in Orinda. For tickets and information, \u003ca href=\"http://calshakes.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shelton Theater Dust-Up is Minor, But The Conflict it Reveals is Not",
"headTitle": "Shelton Theater Dust-Up is Minor, But The Conflict it Reveals is Not | KQED",
"content": "\u003cp>So here’s what seems to be the problem: The \u003ca href=\"http://sheltontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Shelton Theater\u003c/a>, a small company in downtown San Francisco, produced Stephen Adly Guirgis’ \u003cem>The Last Days of Judas Iscariot,\u003c/em> and for a number of reasons — financial, aesthetic, a sense of daring — cut about a third of the play without the dramatist’s permission. That’s a violation of the company’s licensing agreement as well as federal copyright law.\u003c/p>\n\u003cp>Guirgis demanded that the Shelton include an insert in the program that read: “The play you are seeing tonight has been improperly and extensively cut & edited. These edits were made without permission and against the wishes of the playwright, and in violation of federal copyright law.”\u003c/p>\n\u003cfigure id=\"attachment_13804807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg\" alt=\"Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics' Circle Awards at 54 Below on May 19, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics’ Circle Awards at 54 Below on May 19, 2015 in New York City. \u003ccite>(Photo: Monica Schipper/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater company complied, but stamped the notice with a red warning sign that seemed to give the retraction a kind of rebel spin. This angered Guirgis even further. A few Facebook posts later, the theater apologized, the production shut down, and Guirgis declared the contretemps over: “We are all theater people here,” the Pulitzer prize-winning playwright wrote. “Many freaks — but one tribe.”\u003c/p>\n\u003cp>From a legal perspective, the issues couldn’t be clearer. But if you tug a bit on the aesthetic ones — and I would argue that those are the ones that matter — things get a lot messier. What this seemingly insignificant controversy reveals is a series of assumptions about how we view the theater and contemporary playwriting.\u003c/p>\n\u003cp>As a matter of course, many plays are chopped, diced, flipped, abused, and re-imagined for both good and ill. The counter argument to that is most of the works that enterprising theater artists adapt in these various ways are classics, and that Shakespeare, Marlowe, Calderón, Euripides, Molière, Racine, and all the rest of the dead dramatists of the world could only dream of the protections that living and recently deceased playwrights (through literary estates) possess. Okay, true, but that’s a legal technicality and not an aesthetic or cultural argument.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The productions that these rights-deprived dead geniuses receive are often more vibrant, innovative, alive, and attuned to the world than the paint-by-numbers approach authorial control demands under the law. In the last year, Bay Area audiences have had the pleasure of the Shotgun Players’ \u003cem>Hamlet\u003c/em> roulette, Ubuntu Theater Project’s rug store \u003cem>Othello\u003c/em>, and California Shakespeare Theater’s servants’ rights \u003cem>Much Ado About Nothing\u003c/em>, a housing crises \u003cem>As You Like It\u003c/em>, and a Black Lives Matter \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Not all of them were successful, but I enjoyed thinking along with their sometimes loony premises. At no time did I question the directors or theaters’ right to bend these plays to their individual needs and interests.\u003c/p>\n\u003cfigure id=\"attachment_13804760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804760\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg\" alt='Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional \"Roulette\" Hamlet\" produced by the Shotgun Players.' width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-520x290.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional ‘”Roulette” Hamlet’ produced by the Shotgun Players. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In more recent playwriting history, authors have gained an inordinate amount of control over their work. Samuel Beckett, Harold Pinter, and Edward Albee were notoriously hawkish about how their plays were produced. Thanks to the continued vigilance of these playwrights’ estates, there’s a musty edge to what we see of their work. From a cultural point of view, every playwright needs some idiotic productions to loosen things up. We should never underestimate the great potential of failure and foolishness.\u003c/p>\n\u003cp>Beneath the logic of Guirgis’ complaint and copyright law is the notion that the play is a kind of sacred text under the control of the God-author — that cutting, changing the blocking, casting against type, etc. constitute grievous violations of meaning. From a legal standpoint, there’s not much that can be done, but from an aesthetic one I fear that we are losing out on great riches for a rather dubious ideal.\u003c/p>\n\u003cp>I’ve often wondered about the famous Wooster Group production of Arthur Miller’s \u003cem>The Crucible\u003c/em> and why Miller retracted the rights to his play after seeing a performance by the famous avant-garde New York company. I have a theory and it’s not a kind one. Everything the Wooster Group does is a brutal interrogation, and any weakness in the material is obvious under the company’s stringent methods. I think Miller felt that the Wooster Group had exposed his artistic limitations and got scared.\u003c/p>\n\u003cp>Guirgis is an excellent writer who in the past few years has received very good but staid productions of his work in the Bay Area — \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2013/02/05/hold_on_to_your_hat_in_sf_playhouses_unmentionable_play/\" target=\"_blank\" rel=\"noopener noreferrer\">The Motherfucker with the Hat\u003c/a>\u003c/em> at SF Playhouse and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/18/theater-junkie-amelie-at-berkeley-rep-act-takes-on-guirgis-auroras-mud-blue-sky/\" target=\"_blank\" rel=\"noopener noreferrer\">Between Riverside and Crazy\u003c/a>\u003c/em> at American Conservatory Theater. These were solid outings, but less reverential productions might have brought out the wilder, more ambitious aspects of his work. Fidelity is a rather wan virtue.\u003c/p>\n\u003cfigure id=\"attachment_13804758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-800x450.jpg\" alt='Carl Lumbly in Stephen Adly Guirgis’s \"Between Riverside and Crazy\" at ACT. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carl Lumbly in Stephen Adly Guirgis’ ‘Between Riverside and Crazy’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though not a perfect analogy, the lifecycle of a song provides a dynamic counter-model. A composer writes a song and maybe even performs it, giving it a definitive reading. Then another singer comes along and sings it in a different way, maybe even changes the gender of the pronouns, cuts a verse, distorts the tempo or slips into a higher or lower key. I don’t think that song has been damaged as a result. That song continues to have an ongoing cultural life and the ability to attract new meanings and ideas.\u003c/p>\n\u003cp>Great plays should be able to handle the same types of changes. Some experiments work and others don’t. But a freewheeling sense of giving it a go is crucial for a truly vibrant culture. We shouldn’t be satisfied with what the law allows for now — the aesthetic equivalent of a Starbucks franchise. We should hope for and demand interpretations attuned to the producing artists’ abilities and vision, and not be content with variations on some false Platonic ideal to which the author clings.\u003c/p>\n\u003cp>The issue is not this particular production, but rather the beliefs behind the conflict. The Shelton Theater violated Guirgis’ legal rights, but those legal rights are artistically limiting. And when you compare the production of classical plays by dead writers without living estates with those of most contemporary plays, you can begin to see the cracks in a rather unpromising system.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Stephen Adly Guirgis had the legal right to shut down Shelton Theater's 'The Last Days of Judas Iscariot.' But there's more at stake here than the law.",
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"description": "Stephen Adly Guirgis had the legal right to shut down Shelton Theater's 'The Last Days of Judas Iscariot.' But there's more at stake here than the law.",
"title": "Shelton Theater Dust-Up is Minor, But The Conflict it Reveals is Not | KQED",
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"headline": "Shelton Theater Dust-Up is Minor, But The Conflict it Reveals is Not",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So here’s what seems to be the problem: The \u003ca href=\"http://sheltontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Shelton Theater\u003c/a>, a small company in downtown San Francisco, produced Stephen Adly Guirgis’ \u003cem>The Last Days of Judas Iscariot,\u003c/em> and for a number of reasons — financial, aesthetic, a sense of daring — cut about a third of the play without the dramatist’s permission. That’s a violation of the company’s licensing agreement as well as federal copyright law.\u003c/p>\n\u003cp>Guirgis demanded that the Shelton include an insert in the program that read: “The play you are seeing tonight has been improperly and extensively cut & edited. These edits were made without permission and against the wishes of the playwright, and in violation of federal copyright law.”\u003c/p>\n\u003cfigure id=\"attachment_13804807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg\" alt=\"Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics' Circle Awards at 54 Below on May 19, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics’ Circle Awards at 54 Below on May 19, 2015 in New York City. \u003ccite>(Photo: Monica Schipper/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater company complied, but stamped the notice with a red warning sign that seemed to give the retraction a kind of rebel spin. This angered Guirgis even further. A few Facebook posts later, the theater apologized, the production shut down, and Guirgis declared the contretemps over: “We are all theater people here,” the Pulitzer prize-winning playwright wrote. “Many freaks — but one tribe.”\u003c/p>\n\u003cp>From a legal perspective, the issues couldn’t be clearer. But if you tug a bit on the aesthetic ones — and I would argue that those are the ones that matter — things get a lot messier. What this seemingly insignificant controversy reveals is a series of assumptions about how we view the theater and contemporary playwriting.\u003c/p>\n\u003cp>As a matter of course, many plays are chopped, diced, flipped, abused, and re-imagined for both good and ill. The counter argument to that is most of the works that enterprising theater artists adapt in these various ways are classics, and that Shakespeare, Marlowe, Calderón, Euripides, Molière, Racine, and all the rest of the dead dramatists of the world could only dream of the protections that living and recently deceased playwrights (through literary estates) possess. Okay, true, but that’s a legal technicality and not an aesthetic or cultural argument.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The productions that these rights-deprived dead geniuses receive are often more vibrant, innovative, alive, and attuned to the world than the paint-by-numbers approach authorial control demands under the law. In the last year, Bay Area audiences have had the pleasure of the Shotgun Players’ \u003cem>Hamlet\u003c/em> roulette, Ubuntu Theater Project’s rug store \u003cem>Othello\u003c/em>, and California Shakespeare Theater’s servants’ rights \u003cem>Much Ado About Nothing\u003c/em>, a housing crises \u003cem>As You Like It\u003c/em>, and a Black Lives Matter \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Not all of them were successful, but I enjoyed thinking along with their sometimes loony premises. At no time did I question the directors or theaters’ right to bend these plays to their individual needs and interests.\u003c/p>\n\u003cfigure id=\"attachment_13804760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804760\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg\" alt='Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional \"Roulette\" Hamlet\" produced by the Shotgun Players.' width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-520x290.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional ‘”Roulette” Hamlet’ produced by the Shotgun Players. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In more recent playwriting history, authors have gained an inordinate amount of control over their work. Samuel Beckett, Harold Pinter, and Edward Albee were notoriously hawkish about how their plays were produced. Thanks to the continued vigilance of these playwrights’ estates, there’s a musty edge to what we see of their work. From a cultural point of view, every playwright needs some idiotic productions to loosen things up. We should never underestimate the great potential of failure and foolishness.\u003c/p>\n\u003cp>Beneath the logic of Guirgis’ complaint and copyright law is the notion that the play is a kind of sacred text under the control of the God-author — that cutting, changing the blocking, casting against type, etc. constitute grievous violations of meaning. From a legal standpoint, there’s not much that can be done, but from an aesthetic one I fear that we are losing out on great riches for a rather dubious ideal.\u003c/p>\n\u003cp>I’ve often wondered about the famous Wooster Group production of Arthur Miller’s \u003cem>The Crucible\u003c/em> and why Miller retracted the rights to his play after seeing a performance by the famous avant-garde New York company. I have a theory and it’s not a kind one. Everything the Wooster Group does is a brutal interrogation, and any weakness in the material is obvious under the company’s stringent methods. I think Miller felt that the Wooster Group had exposed his artistic limitations and got scared.\u003c/p>\n\u003cp>Guirgis is an excellent writer who in the past few years has received very good but staid productions of his work in the Bay Area — \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2013/02/05/hold_on_to_your_hat_in_sf_playhouses_unmentionable_play/\" target=\"_blank\" rel=\"noopener noreferrer\">The Motherfucker with the Hat\u003c/a>\u003c/em> at SF Playhouse and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/18/theater-junkie-amelie-at-berkeley-rep-act-takes-on-guirgis-auroras-mud-blue-sky/\" target=\"_blank\" rel=\"noopener noreferrer\">Between Riverside and Crazy\u003c/a>\u003c/em> at American Conservatory Theater. These were solid outings, but less reverential productions might have brought out the wilder, more ambitious aspects of his work. Fidelity is a rather wan virtue.\u003c/p>\n\u003cfigure id=\"attachment_13804758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-800x450.jpg\" alt='Carl Lumbly in Stephen Adly Guirgis’s \"Between Riverside and Crazy\" at ACT. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carl Lumbly in Stephen Adly Guirgis’ ‘Between Riverside and Crazy’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though not a perfect analogy, the lifecycle of a song provides a dynamic counter-model. A composer writes a song and maybe even performs it, giving it a definitive reading. Then another singer comes along and sings it in a different way, maybe even changes the gender of the pronouns, cuts a verse, distorts the tempo or slips into a higher or lower key. I don’t think that song has been damaged as a result. That song continues to have an ongoing cultural life and the ability to attract new meanings and ideas.\u003c/p>\n\u003cp>Great plays should be able to handle the same types of changes. Some experiments work and others don’t. But a freewheeling sense of giving it a go is crucial for a truly vibrant culture. We shouldn’t be satisfied with what the law allows for now — the aesthetic equivalent of a Starbucks franchise. We should hope for and demand interpretations attuned to the producing artists’ abilities and vision, and not be content with variations on some false Platonic ideal to which the author clings.\u003c/p>\n\u003cp>The issue is not this particular production, but rather the beliefs behind the conflict. The Shelton Theater violated Guirgis’ legal rights, but those legal rights are artistically limiting. And when you compare the production of classical plays by dead writers without living estates with those of most contemporary plays, you can begin to see the cracks in a rather unpromising system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'The Making of a Great Moment' is Great... at Moments",
"headTitle": "‘The Making of a Great Moment’ is Great… at Moments | KQED",
"content": "\u003cp>The French philosopher Henri Bergson describes comedy as “something mechanical in something living” and that kind of sums up what it means to live if you ask me. We all have a Timex watch in our souls and we’re slaves to its crude mechanics.\u003c/p>\n\u003cp>I don’t know if Z Space playwright-in residence Peter Sinn Nachtrieb has read Bergson. But at his best, Nachtrieb is an apostle of the French theorist, a playwright who loves to windup his toy characters and let them wreak havoc.\u003c/p>\n\u003cp>In last year’s sterling \u003cem>House\u003c/em>, he found the perfect comic mechanism in the tour guide of a historic property. Weston Ludlow Londonderry can’t help himself; he is going to guide us to the truth of the house no matter how dirty and ugly. But in his new show, \u003cem>The Making of a Great Moment\u003c/em>, Nachtrieb’s mechanism isn’t quite the well-oiled machine it ought to be.\u003c/p>\n\u003cp>The dramatist trains his eye on a couple of actors: the cynical Terry Dean played by the always brilliant Danny Sheie, and the idealistic Mona Barnes in a sharp performance by Aysan Celik.\u003c/p>\n\u003cfigure id=\"attachment_13789412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13789412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-800x450.jpg\" alt=\"Mona Barnes (Aysan Celik) succumbs to the terror of her own artistic insignificance in 'The Making of a Great Moment' at Z Below.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mona Barnes (Aysan Celik) succumbs to the terror of her own artistic insignificance in ‘The Making of a Great Moment’ at Z Below. \u003ccite>(Photo: Meghan Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pair are bicycling from theater to theater to perform a four-hour play titled \u003cem>Great Moments in Human Achievement\u003c/em>, which Barnes hopes will spur their sparse audiences to their own great moments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joy of watching the actors ride actual bikes as the scenery moves behind them is the kind of hammy artifice that makes going to the theater a real kick. As Samuel Beckett said to Jean Paul Sartre in an unrecorded and unsubstantiated conversation, “You get your jollies where you can.”\u003c/p>\n\u003cp>Dramatists love to make fun of actors and the theater (\u003cem>Noises Off, Waiting for G\u003c/em>\u003ci>uffman\u003c/i>). So it’s enjoyable to watch the two thesps perform actorly exercises to get centered and stop sniping at each other.\u003c/p>\n\u003cp>Gazing meaningfully into each other’s eyes, they begin with kind, affirming phrases such as “I see commitment” and “I see solutions.” These perfunctory bits of politeness quickly escalate to passive-aggressive assaults that come way too close to the truth: “You look like a Popsicle. An oozing, salty Popsicle in the blazing sun at a state fair coating the hand of a bratty little girl” says Barnes in a spot-on assessment of Dean’s state of mind and fading good looks. “I see death. I see surrender. Like you’ve surrendered to the forces of decay.”\u003c/p>\n\u003cfigure id=\"attachment_13789413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13789413\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-800x450.jpg\" alt=\"Terry Barnes (Danny Scheie) succumbs to the pleasures and terrors of his dreams and ambitions in 'The Making of a Great Moment' at Z Below.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terry Dean (Danny Scheie) succumbs to the pleasures and terrors of his dreams and ambitions in ‘The Making of a Great Moment’ at Z Below. \u003ccite>(Photo: Meghan Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s much joy to be had in the never ending parade of human misery, and \u003cem>Great Moments \u003c/em>has some sharp bits that build a kind of loopy momentum. Yet the problem is that they are just bits.\u003c/p>\n\u003cp>Whereas the whole of Nachtrieb’s \u003cem>House\u003c/em> felt like an AI program replicating itself in strange and unsettling ways, \u003cem>Great Moments\u003c/em> has a mushy humanism that feels stale. It’s as if the playwright is trying to will himself to have a heart when what he really wants to do is destroy his robots.\u003c/p>\n\u003cp>That tension isn’t only philosophically unwieldy, but it also strains Nachtrieb’s normally airtight sense of structure. \u003cem>Great Moments\u003c/em> is both a journey play and a play-within-a-play play, and each of these things trips over the other.\u003c/p>\n\u003cp>As Barnes and Dean bike to their next gig, we get extended fantasies of their past performances, what they’d like to perform, and what they will be performing that night. It’s a lot to take in and the play often feels ragged around the edges as a result.\u003c/p>\n\u003cp>We’re constantly having to think with \u003cem>Great Moments\u003c/em> rather than react to the work. Even the talented cast starts to wear a bit, as Celik and Scheie struggle to balance all the competing bits and registers of the action. We end up with neither fully fleshed-out characters nor finely-tuned machines. And because of that, we lose the manic energy that might result when both converge in Bergson’s lovely little equation of comedy.\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>‘The Making of a Great Moment’ runs through Sunday Aug. 26 at Z Below in San Francisco. For tickets and information \u003ca href=\"http://www.zspace.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "San Francisco dramatist Peter Sinn Nachtrieb's new play has some sharp bits that build a kind of loopy momentum. The problem is that they are just bits.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The French philosopher Henri Bergson describes comedy as “something mechanical in something living” and that kind of sums up what it means to live if you ask me. We all have a Timex watch in our souls and we’re slaves to its crude mechanics.\u003c/p>\n\u003cp>I don’t know if Z Space playwright-in residence Peter Sinn Nachtrieb has read Bergson. But at his best, Nachtrieb is an apostle of the French theorist, a playwright who loves to windup his toy characters and let them wreak havoc.\u003c/p>\n\u003cp>In last year’s sterling \u003cem>House\u003c/em>, he found the perfect comic mechanism in the tour guide of a historic property. Weston Ludlow Londonderry can’t help himself; he is going to guide us to the truth of the house no matter how dirty and ugly. But in his new show, \u003cem>The Making of a Great Moment\u003c/em>, Nachtrieb’s mechanism isn’t quite the well-oiled machine it ought to be.\u003c/p>\n\u003cp>The dramatist trains his eye on a couple of actors: the cynical Terry Dean played by the always brilliant Danny Sheie, and the idealistic Mona Barnes in a sharp performance by Aysan Celik.\u003c/p>\n\u003cfigure id=\"attachment_13789412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13789412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-800x450.jpg\" alt=\"Mona Barnes (Aysan Celik) succumbs to the terror of her own artistic insignificance in 'The Making of a Great Moment' at Z Below.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making2-e1501620984555-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mona Barnes (Aysan Celik) succumbs to the terror of her own artistic insignificance in ‘The Making of a Great Moment’ at Z Below. \u003ccite>(Photo: Meghan Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pair are bicycling from theater to theater to perform a four-hour play titled \u003cem>Great Moments in Human Achievement\u003c/em>, which Barnes hopes will spur their sparse audiences to their own great moments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The joy of watching the actors ride actual bikes as the scenery moves behind them is the kind of hammy artifice that makes going to the theater a real kick. As Samuel Beckett said to Jean Paul Sartre in an unrecorded and unsubstantiated conversation, “You get your jollies where you can.”\u003c/p>\n\u003cp>Dramatists love to make fun of actors and the theater (\u003cem>Noises Off, Waiting for G\u003c/em>\u003ci>uffman\u003c/i>). So it’s enjoyable to watch the two thesps perform actorly exercises to get centered and stop sniping at each other.\u003c/p>\n\u003cp>Gazing meaningfully into each other’s eyes, they begin with kind, affirming phrases such as “I see commitment” and “I see solutions.” These perfunctory bits of politeness quickly escalate to passive-aggressive assaults that come way too close to the truth: “You look like a Popsicle. An oozing, salty Popsicle in the blazing sun at a state fair coating the hand of a bratty little girl” says Barnes in a spot-on assessment of Dean’s state of mind and fading good looks. “I see death. I see surrender. Like you’ve surrendered to the forces of decay.”\u003c/p>\n\u003cfigure id=\"attachment_13789413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13789413\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-800x450.jpg\" alt=\"Terry Barnes (Danny Scheie) succumbs to the pleasures and terrors of his dreams and ambitions in 'The Making of a Great Moment' at Z Below.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Making3-e1501621233152-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terry Dean (Danny Scheie) succumbs to the pleasures and terrors of his dreams and ambitions in ‘The Making of a Great Moment’ at Z Below. \u003ccite>(Photo: Meghan Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s much joy to be had in the never ending parade of human misery, and \u003cem>Great Moments \u003c/em>has some sharp bits that build a kind of loopy momentum. Yet the problem is that they are just bits.\u003c/p>\n\u003cp>Whereas the whole of Nachtrieb’s \u003cem>House\u003c/em> felt like an AI program replicating itself in strange and unsettling ways, \u003cem>Great Moments\u003c/em> has a mushy humanism that feels stale. It’s as if the playwright is trying to will himself to have a heart when what he really wants to do is destroy his robots.\u003c/p>\n\u003cp>That tension isn’t only philosophically unwieldy, but it also strains Nachtrieb’s normally airtight sense of structure. \u003cem>Great Moments\u003c/em> is both a journey play and a play-within-a-play play, and each of these things trips over the other.\u003c/p>\n\u003cp>As Barnes and Dean bike to their next gig, we get extended fantasies of their past performances, what they’d like to perform, and what they will be performing that night. It’s a lot to take in and the play often feels ragged around the edges as a result.\u003c/p>\n\u003cp>We’re constantly having to think with \u003cem>Great Moments\u003c/em> rather than react to the work. Even the talented cast starts to wear a bit, as Celik and Scheie struggle to balance all the competing bits and registers of the action. We end up with neither fully fleshed-out characters nor finely-tuned machines. And because of that, we lose the manic energy that might result when both converge in Bergson’s lovely little equation of comedy.\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>‘The Making of a Great Moment’ runs through Sunday Aug. 26 at Z Below in San Francisco. For tickets and information \u003ca href=\"http://www.zspace.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-zahras-picks-hamlet-sings-standing-up-for-books-and-a-desi-comedy-fest",
"title": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest",
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"content": "\u003cp>We’re welcoming back as co-host this week comedian, co-host of the \u003cem>Good Muslim, Bad Muslim\u003c/em> podcast, and \u003ca href=\"https://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Women to Watch\u003c/a> honoree \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh\u003c/a>. Somehow she and I couldn’t fit in the \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Petaluma Music Festival\u003c/a>, a terrific concert featuring the Chris Robinson Brotherhood, Poor Man’s Whiskey and other American roots bands Aug. 5 at the Sonoma-Marin Fairgrounds, which benefits music programs in Petaluma schools. \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here\u003c/a>. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0e5jPX3ysY8\u003c/p>\n\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: We start with the cosmic jazz of the\u003ca href=\"http://www.sunraarkestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sun Ra Arkestra, \u003c/a>which carries on the Afrofuturist ideas of founder Sun Ra — born Herman Blount, who claimed to be from the planet Saturn. Sun Ra died in 1993, but the band continues under the direction of longtime member Marshall Allen, who maintains Sun Ra’s artistic vision for the band, including on-stage costumes that look like Egyptian spacesuits. Years after Sun Ra’s seminal recordings, the music is still mind-blowing; a cacophony of free jazz resolves into a hard bop solo, chased with a chant about space travel. Zahra ran into a number of artists at the recent \u003ca href=\"https://opportunityagenda.org/connect/creative-change/2017-creative-change-retreat\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Creative Change Retreat\u003c/a> who were deeply influenced by Sun Ra’s Afrocentrism and surrealist approach to his art; even stars in the pop realm \u003ca href=\"http://saintheron.com/featured/happy-birthday-sun-ra/\" target=\"_blank\" rel=\"noopener\">like Solange Knowles\u003c/a> hail his influence. This series of concerts at SFJAZZ is as big a deal as the solar eclipse happening this month, and just as rare. \u003ca href=\"https://sfjazz.org/events/sessions/2017/0804/sun-ra-arkestra\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nfUkLAvU4t4&t=203s\u003c/p>\n\u003cp>\u003cstrong>Aug. 5–Sept. 10\u003c/strong>: There are a handful of great storytellers in the Bay Area — people like Brian Copeland, Dan Hoyle and Al Letson — who can hold the attention of a roomful of people with the detail, warmth and humor of their tale-spinning. Don Reed belongs in that lofty company, and he’s bringing back one of his classic one-man shows, \u003cem>The Kipling Hotel\u003c/em>. It’s about his experience as a student at UCLA on a bare-bones scholarship that left him too broke for a dorm room or apartment. Zahra notes he brings the same level of energy and presence every night, something she strives for herself, and the shows reward repeat viewings. \u003cem>The Kipling Hotel\u003c/em> returns to the Marsh in Berkeley starting Aug. 5; \u003ca href=\"https://themarsh.org/kipling_hotel/don-reed-2/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13795971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13795971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg\" alt=\"West Edge Opera presents Libby Larsen's opera 'Frankenstein'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents Libby Larsen’s opera ‘Frankenstein.’ \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 5–20\u003c/strong>: \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Edge Opera \u003c/a>is a scrappy little Bay Area company with big ambitions, and they’re experts at discovering little-known but deserving work. This year they’re producing new versions of \u003cem>Frankenstein, The Modern Prometheus\u003c/em> by \u003ca href=\"https://libbylarsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Larsen\u003c/a>, a rare opera by a (living) woman composer; \u003cem>The Chastity Tree, \u003c/em>by Vicente Martín y Soler (the Valencian Mozart); and \u003cem>Hamlet\u003c/em>, by the French composer Amboise Thomas, featuring some beautiful arias. Listen to the show (above) to hear former Adler fellow Edward Nelson nail the “To be or not to be…” monologue during a piano rehearsal. West Edge got kicked out of its former home at the old Oakland train station, but they landed safely at Pacific Pipe, an old factory and warehouse in West Oakland. There will be shuttles from the \u003ca href=\"https://www.bart.gov/stations/woak\" target=\"_blank\" rel=\"noopener noreferrer\">West Oakland BART station\u003c/a> — a good thing, because we hear parking is limited. \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjCTIq6JVgU\u003c/p>\n\u003cp>\u003cstrong>Aug. 10–20\u003c/strong>: Here’s a new tradition in the making: the 4th annual Desi Comedy Fest, featuring comedians like Reyhaneh Rajabzadeh, a Muslim Iranian-American comedian, and Ahmed Bharoocha, who is Irish Catholic, Pakistani-Muslim, Indian, and Burmese. (“Desi” is a way that people of the South Asian Diaspora self-identify.) The festival celebrates the great melting pot of American standup comedy (think the Borscht Belt), and you don’t have to travel far. There are shows in San Francisco at Cobb’s Comedy Club, in Alameda at the Rhythmix Cultural Center, in Berkeley at Freight and Salvage, and at the Santa Clara Convention Center, The Mountain View Center for the Performing Arts, and more. Find all the \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13796542\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13796542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg\" alt=\"LA's Biltmore Hotel, the setting for Cherrie Moraga's new play\" width=\"550\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-520x346.jpg 520w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">L.A.’s Biltmore Hotel, the setting for Cherrie Moraga’s new play. \u003ccite>(Photo: Courtesy of Biltmore Hotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 10–27\u003c/strong>: Playwright and Stanford scholar \u003ca href=\"http://cherriemoraga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cherríe Moraga\u003c/a> has a brand new play called \u003cem>The Mathematics of Change\u003c/em> opening soon at Brava for Women in the Arts (which she co-founded). Zahra says that when she was an English major at UC Berkeley, she came across a Moraga play, an adaptation of \u003cem>Medea\u003c/em>, called \u003cem>\u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener noreferrer\">The Hungry Woman\u003c/a>. \u003c/em>Zahra was so impressed at how Moraga took the canon of dead white males and \u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener\">adapted it to focus on a queer Mexican woman\u003c/a> that she changed her major to theater, believing that was where she’d have more power to change the culture herself. The new play is set in L.A.’s Biltmore Hotel, with a Mexican-Indian woman based on Moraga’s own mother succumbing to the early stages of Alzheimer’s and traveling through time. \u003ca href=\"https://www.brava.org/all-events/2017/5/10/the-mathematics-of-love\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13796253\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg\" alt=\"Sedef Ecer, one of the playwrights whose work is getting a staged reading at Goldenthread Productions staged reading series\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-520x208.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sedef Ecer, one of the playwrights whose work is featured at Goldenthread Productions’ staged reading series. \u003ccite>(Photo: Courtesy of Goldenthread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 8 & 15:\u003c/strong> Zahra also wanted to highlight Goldenthread Productions’ new play reading series, in which audiences can help shape the stories they end up seeing on stage. “New Threads” offers staged readings of brand new plays, including \u003cem>When Farah Cries\u003c/em> by Mudar Alhaggi, set in Syria a year after the start of the Syrian civil war, and \u003cem>At The Periphery\u003c/em> by Sedef Ecer, about migrants in Istanbul’s slums. \u003ca href=\"http://www.goldenthread.org/programs/new-threads-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the shows at the Portrero Theater and at Brava are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AxqYr-9G21o&t=1127s\u003c/p>\n\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: Like Sun Ra, Rahsaan Roland Kirk was a jazz master — little remembered today, but a powerhouse in his time. He was blind, outspoken on racial politics of the ’60s and ’70s, and could play a flute with his nose, while harmonizing on two saxophones at the same time. Kirk’s been gone since 1977, but every year Cafe Stritch in San Jose (named for a saxophone Kirk himself designed) presents a Rahsaanathon: four days in Kirk’s honor, with a terrific band led by Steve Turre, a former Kirk sideman, with James Carter on sax. The shows have been some of the best jazz I’ve ever seen. \u003ca href=\"https://www.facebook.com/events/498120750520924/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13796531 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg\" alt=\"Zahra Noorbaksh and Cy Musiker after recording the Do List.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbaksh and Cy Musiker after recording the Do List. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 12:\u003c/strong> One more item — a Noorbaksh performance. Berkeley’s EastWind Books specializes in books on Asian-American culture and ethnic studies, and they’re throwing the third annual \u003cem>Stand Up for Books\u003c/em> fundraiser with some high powered comedic talent: W. Kamau Bell, Irene Tu, and, of course, Zahra Noorbakhsh. \u003ca href=\"http://www.asiabookcenter.com/author--book-events.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the fundraiser at Alameda’s Rhythmix Cultural Center are here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The Do List this week features music from Sun Ra and Rahsaan Roland Kirk, singing from Hamlet, standup comedy and new plays.",
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"title": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re welcoming back as co-host this week comedian, co-host of the \u003cem>Good Muslim, Bad Muslim\u003c/em> podcast, and \u003ca href=\"https://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Women to Watch\u003c/a> honoree \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh\u003c/a>. Somehow she and I couldn’t fit in the \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Petaluma Music Festival\u003c/a>, a terrific concert featuring the Chris Robinson Brotherhood, Poor Man’s Whiskey and other American roots bands Aug. 5 at the Sonoma-Marin Fairgrounds, which benefits music programs in Petaluma schools. \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here\u003c/a>. Now on with the show.\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/0e5jPX3ysY8'\n title='//www.youtube.com/embed/0e5jPX3ysY8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: We start with the cosmic jazz of the\u003ca href=\"http://www.sunraarkestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sun Ra Arkestra, \u003c/a>which carries on the Afrofuturist ideas of founder Sun Ra — born Herman Blount, who claimed to be from the planet Saturn. Sun Ra died in 1993, but the band continues under the direction of longtime member Marshall Allen, who maintains Sun Ra’s artistic vision for the band, including on-stage costumes that look like Egyptian spacesuits. Years after Sun Ra’s seminal recordings, the music is still mind-blowing; a cacophony of free jazz resolves into a hard bop solo, chased with a chant about space travel. Zahra ran into a number of artists at the recent \u003ca href=\"https://opportunityagenda.org/connect/creative-change/2017-creative-change-retreat\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Creative Change Retreat\u003c/a> who were deeply influenced by Sun Ra’s Afrocentrism and surrealist approach to his art; even stars in the pop realm \u003ca href=\"http://saintheron.com/featured/happy-birthday-sun-ra/\" target=\"_blank\" rel=\"noopener\">like Solange Knowles\u003c/a> hail his influence. This series of concerts at SFJAZZ is as big a deal as the solar eclipse happening this month, and just as rare. \u003ca href=\"https://sfjazz.org/events/sessions/2017/0804/sun-ra-arkestra\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\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/nfUkLAvU4t4'\n title='//www.youtube.com/embed/nfUkLAvU4t4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 5–Sept. 10\u003c/strong>: There are a handful of great storytellers in the Bay Area — people like Brian Copeland, Dan Hoyle and Al Letson — who can hold the attention of a roomful of people with the detail, warmth and humor of their tale-spinning. Don Reed belongs in that lofty company, and he’s bringing back one of his classic one-man shows, \u003cem>The Kipling Hotel\u003c/em>. It’s about his experience as a student at UCLA on a bare-bones scholarship that left him too broke for a dorm room or apartment. Zahra notes he brings the same level of energy and presence every night, something she strives for herself, and the shows reward repeat viewings. \u003cem>The Kipling Hotel\u003c/em> returns to the Marsh in Berkeley starting Aug. 5; \u003ca href=\"https://themarsh.org/kipling_hotel/don-reed-2/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13795971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13795971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg\" alt=\"West Edge Opera presents Libby Larsen's opera 'Frankenstein'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents Libby Larsen’s opera ‘Frankenstein.’ \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 5–20\u003c/strong>: \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Edge Opera \u003c/a>is a scrappy little Bay Area company with big ambitions, and they’re experts at discovering little-known but deserving work. This year they’re producing new versions of \u003cem>Frankenstein, The Modern Prometheus\u003c/em> by \u003ca href=\"https://libbylarsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Larsen\u003c/a>, a rare opera by a (living) woman composer; \u003cem>The Chastity Tree, \u003c/em>by Vicente Martín y Soler (the Valencian Mozart); and \u003cem>Hamlet\u003c/em>, by the French composer Amboise Thomas, featuring some beautiful arias. Listen to the show (above) to hear former Adler fellow Edward Nelson nail the “To be or not to be…” monologue during a piano rehearsal. West Edge got kicked out of its former home at the old Oakland train station, but they landed safely at Pacific Pipe, an old factory and warehouse in West Oakland. There will be shuttles from the \u003ca href=\"https://www.bart.gov/stations/woak\" target=\"_blank\" rel=\"noopener noreferrer\">West Oakland BART station\u003c/a> — a good thing, because we hear parking is limited. \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qjCTIq6JVgU'\n title='//www.youtube.com/embed/qjCTIq6JVgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10–20\u003c/strong>: Here’s a new tradition in the making: the 4th annual Desi Comedy Fest, featuring comedians like Reyhaneh Rajabzadeh, a Muslim Iranian-American comedian, and Ahmed Bharoocha, who is Irish Catholic, Pakistani-Muslim, Indian, and Burmese. (“Desi” is a way that people of the South Asian Diaspora self-identify.) The festival celebrates the great melting pot of American standup comedy (think the Borscht Belt), and you don’t have to travel far. There are shows in San Francisco at Cobb’s Comedy Club, in Alameda at the Rhythmix Cultural Center, in Berkeley at Freight and Salvage, and at the Santa Clara Convention Center, The Mountain View Center for the Performing Arts, and more. Find all the \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13796542\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13796542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg\" alt=\"LA's Biltmore Hotel, the setting for Cherrie Moraga's new play\" width=\"550\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-520x346.jpg 520w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">L.A.’s Biltmore Hotel, the setting for Cherrie Moraga’s new play. \u003ccite>(Photo: Courtesy of Biltmore Hotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 10–27\u003c/strong>: Playwright and Stanford scholar \u003ca href=\"http://cherriemoraga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cherríe Moraga\u003c/a> has a brand new play called \u003cem>The Mathematics of Change\u003c/em> opening soon at Brava for Women in the Arts (which she co-founded). Zahra says that when she was an English major at UC Berkeley, she came across a Moraga play, an adaptation of \u003cem>Medea\u003c/em>, called \u003cem>\u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener noreferrer\">The Hungry Woman\u003c/a>. \u003c/em>Zahra was so impressed at how Moraga took the canon of dead white males and \u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener\">adapted it to focus on a queer Mexican woman\u003c/a> that she changed her major to theater, believing that was where she’d have more power to change the culture herself. The new play is set in L.A.’s Biltmore Hotel, with a Mexican-Indian woman based on Moraga’s own mother succumbing to the early stages of Alzheimer’s and traveling through time. \u003ca href=\"https://www.brava.org/all-events/2017/5/10/the-mathematics-of-love\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13796253\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg\" alt=\"Sedef Ecer, one of the playwrights whose work is getting a staged reading at Goldenthread Productions staged reading series\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-520x208.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sedef Ecer, one of the playwrights whose work is featured at Goldenthread Productions’ staged reading series. \u003ccite>(Photo: Courtesy of Goldenthread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 8 & 15:\u003c/strong> Zahra also wanted to highlight Goldenthread Productions’ new play reading series, in which audiences can help shape the stories they end up seeing on stage. “New Threads” offers staged readings of brand new plays, including \u003cem>When Farah Cries\u003c/em> by Mudar Alhaggi, set in Syria a year after the start of the Syrian civil war, and \u003cem>At The Periphery\u003c/em> by Sedef Ecer, about migrants in Istanbul’s slums. \u003ca href=\"http://www.goldenthread.org/programs/new-threads-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the shows at the Portrero Theater and at Brava are here\u003c/a>.\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/AxqYr-9G21o'\n title='//www.youtube.com/embed/AxqYr-9G21o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: Like Sun Ra, Rahsaan Roland Kirk was a jazz master — little remembered today, but a powerhouse in his time. He was blind, outspoken on racial politics of the ’60s and ’70s, and could play a flute with his nose, while harmonizing on two saxophones at the same time. Kirk’s been gone since 1977, but every year Cafe Stritch in San Jose (named for a saxophone Kirk himself designed) presents a Rahsaanathon: four days in Kirk’s honor, with a terrific band led by Steve Turre, a former Kirk sideman, with James Carter on sax. The shows have been some of the best jazz I’ve ever seen. \u003ca href=\"https://www.facebook.com/events/498120750520924/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13796531 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg\" alt=\"Zahra Noorbaksh and Cy Musiker after recording the Do List.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbaksh and Cy Musiker after recording the Do List. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 12:\u003c/strong> One more item — a Noorbaksh performance. Berkeley’s EastWind Books specializes in books on Asian-American culture and ethnic studies, and they’re throwing the third annual \u003cem>Stand Up for Books\u003c/em> fundraiser with some high powered comedic talent: W. Kamau Bell, Irene Tu, and, of course, Zahra Noorbakhsh. \u003ca href=\"http://www.asiabookcenter.com/author--book-events.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the fundraiser at Alameda’s Rhythmix Cultural Center are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What Sam Shepard Meant to the Bay Area",
"headTitle": "What Sam Shepard Meant to the Bay Area | KQED",
"content": "\u003cp>In a world drowning in celebrity, the news of Sam Shepard’s death from amyotrophic lateral sclerosis\u003cem> (\u003c/em>ALS) is a shock of the old kind: A powerful and elusive presence has vanished. It’s the type of disappearance Shepard captured with élan not just in his plays, but also with his striking, affectless acting and even in the way he carried himself through and along the edges of a culture increasingly dedicated to fame as a weapon and commodity.\u003c/p>\n\u003cp>It’s true that Shepard was showered with the type of accolades people pay attention to — a Pulitzer Prize, in 1979, for his play \u003cem>Buried Child\u003c/em>, an Oscar nomination for Phillip Kaufman’s epic history movie \u003cem>The Right Stuff\u003c/em> (1983), and a long relationship with a real Hollywood star, Jessica Lange. Yet these noteworthy accomplishments barely capture the force of his art and influence, especially in the Bay Area of the late 1970s and early ’80s.\u003c/p>\n\u003cfigure id=\"attachment_13783049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13783049\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-800x450.jpg\" alt='Sam Shepard recites a short story at \"Toil and Trouble . . Stories of Experiments Gone Wrong\" at the World Science Festival held at The Moth at Symphony Space on May 29, 2008 in New York City. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam Shepard recites a short story at “Toil and Trouble . . Stories of Experiments Gone Wrong” at the World Science Festival held at The Moth at Symphony Space on May 29, 2008 in New York City. \u003ccite>(Photo: Amy Sussman/Getty Images for World Science Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Shepard became the playwright-in-residence at the Magic Theatre in 1975, he had written almost 30 plays. Without directly chronicling the Summer of Love generation, say in the way \u003cem>Hair \u003c/em>(1967), \u003cem>Godspell\u003c/em> (1970), and \u003cem>Jesus Christ Superstar\u003c/em> (1970) would attempt, Shepard’s early work captures the dislocation, societal upheaval, and jazzy, jagged rhythms of an America in revolt against itself.\u003c/p>\n\u003cp>Those qualities made many of his plays such as \u003cem>Icarus’s Mother\u003c/em> (1965), \u003cem>The Unseen Hand\u003c/em> (1969), \u003cem>Cowboy Mouth\u003c/em> (co-written with then girlfriend Patti Smith, 1971), \u003cem>The Tooth of the Crime\u003c/em> (1972), and \u003cem>Action\u003c/em> (1975) seem like documentaries of the Manson family’s early years. To the mainstream and even avant-garde theatrical establishment, Shepard was barely writing plays. Instead, he was creating theatrical events that more closely resembled the force of music.\u003c/p>\n\u003cfigure id=\"attachment_13783057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13783057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-800x450.jpg\" alt=\"(L to R) Sam Shepard and Magic Theatre artistic director and founder John Lion.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit.jpg 832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sam Shepard and Magic Theatre artistic director and founder John Lion. \u003ccite>(Photo: Courtesy of Magic Theatre Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The question was, where was Shepard heading? The answer was west, and to a slightly different aesthetic — one that would reimagine what realism might be after the revolution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To say that Shepard’s Magic Theatre world premieres were significant is a vast understatement. Without losing any of its edge or inventiveness, his work mutated from experimental and oppositional to simply present. He wasn’t an outsider anymore; he was the eye of the storm.\u003c/p>\n\u003cp>Bay Area audiences were the first to see \u003cem>Buried Child\u003c/em>, \u003cem>True West\u003c/em> (1980) and \u003cem>Fool for Love\u003c/em> (1983), along with \u003cem>Action\u003c/em>, \u003cem>Angel City\u003c/em> (1976) and his collaboration with director Joseph Chaikin, \u003cem>Tongues\u003c/em> (1978\u003cem>)\u003c/em>. This bounty secured the Magic’s national reputation as a playwright’s theater of true importance.\u003c/p>\n\u003cp>Of course, this type of fact is the stuff of testimonial. Look at the work, we say. Look at all the good that was done. It’s an appropriate way to celebrate the dead, though I’m not sure it quite works for Shepard.\u003c/p>\n\u003cfigure id=\"attachment_13783043\" class=\"wp-caption aligncenter\" style=\"max-width: 669px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13783043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981.png\" alt=\"Ed Harris and Dennis Ludlow in the original production of 'Fool for Love' at the Magic Theatre.\" width=\"669\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981.png 669w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-520x292.png 520w\" sizes=\"(max-width: 669px) 100vw, 669px\">\u003cfigcaption class=\"wp-caption-text\">Ed Harris and Dennis Ludlow in the original production of ‘Fool for Love’ at the Magic Theatre. \u003ccite>(Photo: Courtesy of the Magic Theatre archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was strange about this artist’s achievements was how electric and transforming they were. Shepard’s work and presence imbued the Bay Area with a desire for significant theater — and so it wasn’t just the Magic that flourished, but also the Berkeley Stage, the Eureka Theatre, the Julian Theater, and a host of other experimental groups that picked up on, responded to, and took on his shifty, off-beat challenges (in part, that they too might command the center of the national stage, or at least Shepard made it all seem possible).\u003c/p>\n\u003cp>Sam Shepard was a great playwright whose plays are a product not of the times, or institutions, but of a vision. And visions are rare. They don’t come because we want them to, or because there’s a grant for them, or because we create the proper organization. They come because some people feel the world with more intensity, and follow the stars before them to wherever they might lead. And in turn, we follow them with an equal intensity, and suffer a real loss when they’re no longer around to show the way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The Pulitzer-winning, Oscar-nominated artist's noteworthy accomplishments barely capture the force of his art and influence, especially in the Bay Area of the late 1970s and early '80s.\r\n\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a world drowning in celebrity, the news of Sam Shepard’s death from amyotrophic lateral sclerosis\u003cem> (\u003c/em>ALS) is a shock of the old kind: A powerful and elusive presence has vanished. It’s the type of disappearance Shepard captured with élan not just in his plays, but also with his striking, affectless acting and even in the way he carried himself through and along the edges of a culture increasingly dedicated to fame as a weapon and commodity.\u003c/p>\n\u003cp>It’s true that Shepard was showered with the type of accolades people pay attention to — a Pulitzer Prize, in 1979, for his play \u003cem>Buried Child\u003c/em>, an Oscar nomination for Phillip Kaufman’s epic history movie \u003cem>The Right Stuff\u003c/em> (1983), and a long relationship with a real Hollywood star, Jessica Lange. Yet these noteworthy accomplishments barely capture the force of his art and influence, especially in the Bay Area of the late 1970s and early ’80s.\u003c/p>\n\u003cfigure id=\"attachment_13783049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13783049\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-800x450.jpg\" alt='Sam Shepard recites a short story at \"Toil and Trouble . . Stories of Experiments Gone Wrong\" at the World Science Festival held at The Moth at Symphony Space on May 29, 2008 in New York City. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam Shepard recites a short story at “Toil and Trouble . . Stories of Experiments Gone Wrong” at the World Science Festival held at The Moth at Symphony Space on May 29, 2008 in New York City. \u003ccite>(Photo: Amy Sussman/Getty Images for World Science Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Shepard became the playwright-in-residence at the Magic Theatre in 1975, he had written almost 30 plays. Without directly chronicling the Summer of Love generation, say in the way \u003cem>Hair \u003c/em>(1967), \u003cem>Godspell\u003c/em> (1970), and \u003cem>Jesus Christ Superstar\u003c/em> (1970) would attempt, Shepard’s early work captures the dislocation, societal upheaval, and jazzy, jagged rhythms of an America in revolt against itself.\u003c/p>\n\u003cp>Those qualities made many of his plays such as \u003cem>Icarus’s Mother\u003c/em> (1965), \u003cem>The Unseen Hand\u003c/em> (1969), \u003cem>Cowboy Mouth\u003c/em> (co-written with then girlfriend Patti Smith, 1971), \u003cem>The Tooth of the Crime\u003c/em> (1972), and \u003cem>Action\u003c/em> (1975) seem like documentaries of the Manson family’s early years. To the mainstream and even avant-garde theatrical establishment, Shepard was barely writing plays. Instead, he was creating theatrical events that more closely resembled the force of music.\u003c/p>\n\u003cfigure id=\"attachment_13783057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13783057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-800x450.jpg\" alt=\"(L to R) Sam Shepard and Magic Theatre artistic director and founder John Lion.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sam-Shepard-and-John-Lion-edit.jpg 832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sam Shepard and Magic Theatre artistic director and founder John Lion. \u003ccite>(Photo: Courtesy of Magic Theatre Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The question was, where was Shepard heading? The answer was west, and to a slightly different aesthetic — one that would reimagine what realism might be after the revolution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To say that Shepard’s Magic Theatre world premieres were significant is a vast understatement. Without losing any of its edge or inventiveness, his work mutated from experimental and oppositional to simply present. He wasn’t an outsider anymore; he was the eye of the storm.\u003c/p>\n\u003cp>Bay Area audiences were the first to see \u003cem>Buried Child\u003c/em>, \u003cem>True West\u003c/em> (1980) and \u003cem>Fool for Love\u003c/em> (1983), along with \u003cem>Action\u003c/em>, \u003cem>Angel City\u003c/em> (1976) and his collaboration with director Joseph Chaikin, \u003cem>Tongues\u003c/em> (1978\u003cem>)\u003c/em>. This bounty secured the Magic’s national reputation as a playwright’s theater of true importance.\u003c/p>\n\u003cp>Of course, this type of fact is the stuff of testimonial. Look at the work, we say. Look at all the good that was done. It’s an appropriate way to celebrate the dead, though I’m not sure it quite works for Shepard.\u003c/p>\n\u003cfigure id=\"attachment_13783043\" class=\"wp-caption aligncenter\" style=\"max-width: 669px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13783043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981.png\" alt=\"Ed Harris and Dennis Ludlow in the original production of 'Fool for Love' at the Magic Theatre.\" width=\"669\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981.png 669w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Fool-OG-1-e1501540723981-520x292.png 520w\" sizes=\"(max-width: 669px) 100vw, 669px\">\u003cfigcaption class=\"wp-caption-text\">Ed Harris and Dennis Ludlow in the original production of ‘Fool for Love’ at the Magic Theatre. \u003ccite>(Photo: Courtesy of the Magic Theatre archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was strange about this artist’s achievements was how electric and transforming they were. Shepard’s work and presence imbued the Bay Area with a desire for significant theater — and so it wasn’t just the Magic that flourished, but also the Berkeley Stage, the Eureka Theatre, the Julian Theater, and a host of other experimental groups that picked up on, responded to, and took on his shifty, off-beat challenges (in part, that they too might command the center of the national stage, or at least Shepard made it all seem possible).\u003c/p>\n\u003cp>Sam Shepard was a great playwright whose plays are a product not of the times, or institutions, but of a vision. And visions are rare. They don’t come because we want them to, or because there’s a grant for them, or because we create the proper organization. They come because some people feel the world with more intensity, and follow the stars before them to wherever they might lead. And in turn, we follow them with an equal intensity, and suffer a real loss when they’re no longer around to show the way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sam Shepard, 'Poet Laureate Of America's Emotional Badlands,' Dies at 73",
"headTitle": "Sam Shepard, ‘Poet Laureate Of America’s Emotional Badlands,’ Dies at 73 | KQED",
"content": "\u003cp>\u003cstrong>Updated at 1:34 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For more than half a century, playwright Sam Shepard stood as a towering presence in American theater and cinema, penning dozens of plays and earning an Oscar nomination as an actor in his own right. Delving deeply into the complicated, often bleak nature of family life, the Pulitzer Prize winner earned the title — \u003ca href=\"https://books.google.com/books?id=Af7PDAAAQBAJ&pg=PT21&lpg=PT21&dq=%22jack+kroll%22+%22poet+laureate+of+America%27s+emotional+badlands%22&source=bl&ots=fARoHxMmPd&sig=jv8zszWvsm10C-Aj-b_vVP6lWlI&hl=en&sa=X&ved=0ahUKEwiXxeKW77PVAhXHOT4KHW7kB6EQ6AEIKDAA#v=onepage&q=%22jack%20kroll%22%20%22poet%20laureate%20of%20America's%20emotional%20badlands%22&f=false\" target=\"_blank\" rel=\"noopener\">in drama critic Jack Kroll’s words\u003c/a> — of “poet laureate of America’s emotional badlands.”\u003c/p>\n\u003cp>That influential “poet laureate” — who was not only a playwright, but an actor and director too — died Thursday at 73 of complications from Lou Gehrig’s disease, also called called amyotrophic lateral sclerosis. A family representative said he died at his home in Kentucky.\u003c/p>\n\u003cp>“The family requests privacy at this difficult time,” spokesman Chris Boneau said Monday.\u003c/p>\n\u003cp>Born Samuel Shepard Rogers in Illinois, the playwright spent much of his youth moving from place to place with his family, eventually attending high school just east of LA in Duarte, Calif. And by the time he opened his career in his early 20s with a string of one-act plays, the mythology of the fading West had firmly taken hold in him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003ca href=\"http://www.nytimes.com/1984/01/29/theater/myths-dreams-realities-sam-shepard-s-america.html\" target=\"_blank\" rel=\"noopener\">he told The New York Times\u003c/a> in 1983, he was fascinated by the ebb tide of a myth — and how people seek to replace it with others.\u003c/p>\n\u003cp>“People are starved for the truth,” he told the \u003cem>Times\u003c/em>, “and when something comes along that even looks like the truth, people will latch on to it because everything’s so false. People are starved for a way of life — they’re hunting for a way to be or to act toward the world.”\u003c/p>\n\u003cp>In his early works and throughout his career, as he was helping trailblaze a space for playwrights off-Broadway and attracting a cult following of his own, Shepard continued to return to the West — and to another space where nostalgia often runs aground on reality: the family.\u003c/p>\n\u003cp>These muddled, sometimes dangerous familial ties served as the centerpiece of Shepard’s Pulitzer Prize-winning play, 1979’s \u003cem>Buried Child\u003c/em>. He would also go on to earn Pulitzer nominations for 1981’s \u003cem>True West\u003c/em> and 1983’s \u003cem>Fool for Love\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/NationalTheatre/status/892060996369567745\u003c/p>\n\u003cp>It was in 1983 that Shepard also took a star turn on the big screen, playing the test pilot Chuck Yeager in the film \u003cem>The Right Stuff\u003c/em>. That role would earn him an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1984\" target=\"_blank\" rel=\"noopener\">Oscar nomination for best supporting actor\u003c/a> the next year.\u003c/p>\n\u003cp>Shepard continued to play roles in front of the camera, even as he wrote for the stage. In fact, his most recent role was in the Netflix series \u003cem>Bloodline\u003c/em>, the final season of which was released earlier this year.\u003c/p>\n\u003cp>https://twitter.com/BeauWillimon/status/892033403196932098\u003c/p>\n\u003cp>In these performances on-screen, as in so many of his plays, the writer and actor said he often looked inward to find the complexities of the people he portrayed.\u003c/p>\n\u003cp>“It’s very difficult to escape your background. You know, I don’t think it’s necessary to even try to escape it,” Shepard told \u003cem>Fresh Air\u003c/em> in 1998. “More and more, I start to think that it’s necessary to see exactly what it is that you inherited on both ends of the stick: your timidity, your courage, your self-deceit, and your honesty — and all the rest of it.”\u003c/p>\n\u003cp>Shepard added: “It’s necessary to include all of that in order to be able to accept oneself.” \u003c/p>\n\u003cp>\u003ci>Watch Sam Shepard play drums with the Holy Modal Rounders on Rowan & Martin’s ‘Laugh-In’ in 1968:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xvX9yPZvFgQ\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sam+Shepard%2C+%27Poet+Laureate+Of+America%27s+Emotional+Badlands%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:34 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For more than half a century, playwright Sam Shepard stood as a towering presence in American theater and cinema, penning dozens of plays and earning an Oscar nomination as an actor in his own right. Delving deeply into the complicated, often bleak nature of family life, the Pulitzer Prize winner earned the title — \u003ca href=\"https://books.google.com/books?id=Af7PDAAAQBAJ&pg=PT21&lpg=PT21&dq=%22jack+kroll%22+%22poet+laureate+of+America%27s+emotional+badlands%22&source=bl&ots=fARoHxMmPd&sig=jv8zszWvsm10C-Aj-b_vVP6lWlI&hl=en&sa=X&ved=0ahUKEwiXxeKW77PVAhXHOT4KHW7kB6EQ6AEIKDAA#v=onepage&q=%22jack%20kroll%22%20%22poet%20laureate%20of%20America's%20emotional%20badlands%22&f=false\" target=\"_blank\" rel=\"noopener\">in drama critic Jack Kroll’s words\u003c/a> — of “poet laureate of America’s emotional badlands.”\u003c/p>\n\u003cp>That influential “poet laureate” — who was not only a playwright, but an actor and director too — died Thursday at 73 of complications from Lou Gehrig’s disease, also called called amyotrophic lateral sclerosis. A family representative said he died at his home in Kentucky.\u003c/p>\n\u003cp>“The family requests privacy at this difficult time,” spokesman Chris Boneau said Monday.\u003c/p>\n\u003cp>Born Samuel Shepard Rogers in Illinois, the playwright spent much of his youth moving from place to place with his family, eventually attending high school just east of LA in Duarte, Calif. And by the time he opened his career in his early 20s with a string of one-act plays, the mythology of the fading West had firmly taken hold in him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"http://www.nytimes.com/1984/01/29/theater/myths-dreams-realities-sam-shepard-s-america.html\" target=\"_blank\" rel=\"noopener\">he told The New York Times\u003c/a> in 1983, he was fascinated by the ebb tide of a myth — and how people seek to replace it with others.\u003c/p>\n\u003cp>“People are starved for the truth,” he told the \u003cem>Times\u003c/em>, “and when something comes along that even looks like the truth, people will latch on to it because everything’s so false. People are starved for a way of life — they’re hunting for a way to be or to act toward the world.”\u003c/p>\n\u003cp>In his early works and throughout his career, as he was helping trailblaze a space for playwrights off-Broadway and attracting a cult following of his own, Shepard continued to return to the West — and to another space where nostalgia often runs aground on reality: the family.\u003c/p>\n\u003cp>These muddled, sometimes dangerous familial ties served as the centerpiece of Shepard’s Pulitzer Prize-winning play, 1979’s \u003cem>Buried Child\u003c/em>. He would also go on to earn Pulitzer nominations for 1981’s \u003cem>True West\u003c/em> and 1983’s \u003cem>Fool for Love\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It was in 1983 that Shepard also took a star turn on the big screen, playing the test pilot Chuck Yeager in the film \u003cem>The Right Stuff\u003c/em>. That role would earn him an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1984\" target=\"_blank\" rel=\"noopener\">Oscar nomination for best supporting actor\u003c/a> the next year.\u003c/p>\n\u003cp>Shepard continued to play roles in front of the camera, even as he wrote for the stage. In fact, his most recent role was in the Netflix series \u003cem>Bloodline\u003c/em>, the final season of which was released earlier this year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In these performances on-screen, as in so many of his plays, the writer and actor said he often looked inward to find the complexities of the people he portrayed.\u003c/p>\n\u003cp>“It’s very difficult to escape your background. You know, I don’t think it’s necessary to even try to escape it,” Shepard told \u003cem>Fresh Air\u003c/em> in 1998. “More and more, I start to think that it’s necessary to see exactly what it is that you inherited on both ends of the stick: your timidity, your courage, your self-deceit, and your honesty — and all the rest of it.”\u003c/p>\n\u003cp>Shepard added: “It’s necessary to include all of that in order to be able to accept oneself.” \u003c/p>\n\u003cp>\u003ci>Watch Sam Shepard play drums with the Holy Modal Rounders on Rowan & Martin’s ‘Laugh-In’ in 1968:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xvX9yPZvFgQ'\n title='//www.youtube.com/embed/xvX9yPZvFgQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sam+Shepard%2C+%27Poet+Laureate+Of+America%27s+Emotional+Badlands%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>El Beh is a San Francisco-based theater artist, performer, musician and educator with a passion for ensemble-devised theater at the intersection of social justice, community and radical art.\u003c/p>\n\u003cp>Whether mastering all of the roles in \u003cem>Hamlet\u003c/em> in a daring “roulette” version of Shakespeare’s drama at Shotgun Players’ Ashby Stage in Berkeley, doing drag cabaret at the Rite Spot bar in San Francisco, or playing the cello and singing in Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em> at St. Ann’s Warehouse in Brooklyn, the 34-year-old North County San Diego native is consistently thrilling to watch.\u003c/p>\n\u003cp>Beh next appears on stage this fall at the Curran Theater in San Francisco, reprising her role in Mac’s \u003cem>24-Decade History of Popular Music. \u003c/em>Shotgun Players has also tapped her to perform in its upcoming production of Robert Wilson and Tom Waits’ \u003cem>The Black Rider.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13660641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13660641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/El-Beh-2-800x544.jpg\" alt=\"El Beh playing cello at Z Space. \" width=\"800\" height=\"544\">\u003cfigcaption class=\"wp-caption-text\">El Beh playing cello at Z Space. \u003ccite>(Photo: Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you most adore—and find most challenging—about being an artist in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I love what community we have as artists here. There’s a lot of support both from fellow artists and artistic institutions. I think that we’re at the forefront of national attempts to create a more diverse, inclusive and therefore more accurate representation of our country within our community of artistic practitioners and patrons. Don’t get me wrong, we have a long way to go. But it’s not everywhere in the country that a queer person of color would be prioritized to play Emily Webb in \u003cem>Our Town\u003c/em>.\u003c/p>\n\u003cp>On the other hand, I’ve had many a local friend struggle with eviction or have to move away from the area entirely in order to continue making art sustainably. I’m privileged to have rent control, but even that small increase every year means my working far beyond full-time hours in order to make ends meet. And I know very few artists for whom that story isn’t also true. Because of the economics, many theater companies are only able to function by making less risky artistic choices in their programming. Meanwhile, the experimental, less commercial companies have a harder time even existing. Thankfully here in San Francisco, we have strong, bold folks like Lisa Steindler at Z Space, and the teams at Yerba Buena Center for the Arts and Counterpulse who are committed to finding ways for devised, experimental performance art to continue being made and brought to the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13703653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13703653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-elbeh-800x450.jpg\" alt=\"El Beh.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Beh. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was your first big break in the Bay Area performing arts scene and how did you go about securing it?\u003c/strong>\u003c/p>\n\u003cp>The show that really shaped the path my career has taken thus far was \u003cem>The Threepenny Opera\u003c/em> at Shotgun Players in Berkeley. It was my first show at Shotgun and it introduced me to my dearest collaborators, which then led to pretty much every incredible collaboration I’ve had since then, as well as the honing of my aesthetic. I didn’t even get to audition in person, but sent in a recording of me singing some of the songs from the show. Shotgun artistic director Patrick Dooley had seen me in Berkeley Playhouse’s production of \u003cem>Seussical\u003c/em>, and had been so consistent and persistent about getting me in something at Shotgun that he was able to convince the director of \u003cem>The Threepenny Opera\u003c/em>, Susannah Martin, to cast me.\u003c/p>\n\u003cp>\u003cstrong>What comes first for you – being a musician or an actor? How do you go about integrating both pursuits into your life, seemingly so seamlessly?\u003c/strong>\u003c/p>\n\u003cp>It’s a little difficult for me to define myself as either a musician or an actor. I grew up playing music. But I would say that in recent years I’ve come back to being a musician because of the decision to become a professional actor. Integration was kind of a given to me at first, because the idea of the “actor-musician” became the zeitgeist around the time when I started performing professionally. So a lot of my early work came from my ability to handle both crafts. Nowadays, I’m fortunate enough to get to integrate both pursuits because of my preference for devised and physically-based work, which means we get to bring our full selves to the table.\u003c/p>\n\u003cp>\u003cstrong>In Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>, you’re on stage playing the cello, acting and singing for hours and hours on end. How many hours are you on stage and how do you go about psyching yourself up for and getting through such a long performance?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I really love “durational” performance and all that it exposes as we’re made to sit with things far longer than we’re typically comfortable with and everything starts to break down. After doing Mugwumpin’s \u003ci>Asomnia\u003c/i>, where we stayed awake and created new performances together every hour-and-a-half for 60 hours straight. Anything less than that feels like cake! I have it really easy in \u003ci>A 24-Decade\u003c/i> with my longest time on stage being six hours. Our music director, Matt Ray, brilliantly arranged all the music so most of the musicians get breaks even during the longer stretches as well. It doesn’t ever feel like I’m playing for very long in the grand scheme of things.\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cfigure id=\"attachment_13660642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13660642\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-800x451.jpg\" alt=\"El Beh as Hamlet in Shotgun Players ‘roulette’ version of Shakespeare work.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540.jpg 890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Beh as Hamlet in Shotgun Players ‘roulette’ version of Shakespeare work. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides my usual grounding, physical and vocal warm up rituals, there isn’t a lot of psyching up I need to do for this piece except to remain present.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I believe we are making progress. But I often desire far more radical measures to be taken to create equity. I think there needs to be a dominance of representation of oppressed peoples because our stories have for so long been silenced, forgotten and disregarded.\u003c/p>\n\u003cp>For me, it’s not just about gender parity, but rather, gender equity. This considers outside of the binary. It’s hard for me to restrict my thinking around gender lines without including its intersections with race, class, sexuality and disability. So what my ideal future looks like for all disenfranchised working artists is equity in representation in the arts with the ability to thrive while making art that matters to them and their particular communities. We need to give these individuals more space and agency so typically underrepresented voices have the opportunity to steer the ship.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We want to hear from you\u003c/a>! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>El Beh is a San Francisco-based theater artist, performer, musician and educator with a passion for ensemble-devised theater at the intersection of social justice, community and radical art.\u003c/p>\n\u003cp>Whether mastering all of the roles in \u003cem>Hamlet\u003c/em> in a daring “roulette” version of Shakespeare’s drama at Shotgun Players’ Ashby Stage in Berkeley, doing drag cabaret at the Rite Spot bar in San Francisco, or playing the cello and singing in Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em> at St. Ann’s Warehouse in Brooklyn, the 34-year-old North County San Diego native is consistently thrilling to watch.\u003c/p>\n\u003cp>Beh next appears on stage this fall at the Curran Theater in San Francisco, reprising her role in Mac’s \u003cem>24-Decade History of Popular Music. \u003c/em>Shotgun Players has also tapped her to perform in its upcoming production of Robert Wilson and Tom Waits’ \u003cem>The Black Rider.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13660641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13660641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/El-Beh-2-800x544.jpg\" alt=\"El Beh playing cello at Z Space. \" width=\"800\" height=\"544\">\u003cfigcaption class=\"wp-caption-text\">El Beh playing cello at Z Space. \u003ccite>(Photo: Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you most adore—and find most challenging—about being an artist in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I love what community we have as artists here. There’s a lot of support both from fellow artists and artistic institutions. I think that we’re at the forefront of national attempts to create a more diverse, inclusive and therefore more accurate representation of our country within our community of artistic practitioners and patrons. Don’t get me wrong, we have a long way to go. But it’s not everywhere in the country that a queer person of color would be prioritized to play Emily Webb in \u003cem>Our Town\u003c/em>.\u003c/p>\n\u003cp>On the other hand, I’ve had many a local friend struggle with eviction or have to move away from the area entirely in order to continue making art sustainably. I’m privileged to have rent control, but even that small increase every year means my working far beyond full-time hours in order to make ends meet. And I know very few artists for whom that story isn’t also true. Because of the economics, many theater companies are only able to function by making less risky artistic choices in their programming. Meanwhile, the experimental, less commercial companies have a harder time even existing. Thankfully here in San Francisco, we have strong, bold folks like Lisa Steindler at Z Space, and the teams at Yerba Buena Center for the Arts and Counterpulse who are committed to finding ways for devised, experimental performance art to continue being made and brought to the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13703653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13703653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-elbeh-800x450.jpg\" alt=\"El Beh.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Beh. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was your first big break in the Bay Area performing arts scene and how did you go about securing it?\u003c/strong>\u003c/p>\n\u003cp>The show that really shaped the path my career has taken thus far was \u003cem>The Threepenny Opera\u003c/em> at Shotgun Players in Berkeley. It was my first show at Shotgun and it introduced me to my dearest collaborators, which then led to pretty much every incredible collaboration I’ve had since then, as well as the honing of my aesthetic. I didn’t even get to audition in person, but sent in a recording of me singing some of the songs from the show. Shotgun artistic director Patrick Dooley had seen me in Berkeley Playhouse’s production of \u003cem>Seussical\u003c/em>, and had been so consistent and persistent about getting me in something at Shotgun that he was able to convince the director of \u003cem>The Threepenny Opera\u003c/em>, Susannah Martin, to cast me.\u003c/p>\n\u003cp>\u003cstrong>What comes first for you – being a musician or an actor? How do you go about integrating both pursuits into your life, seemingly so seamlessly?\u003c/strong>\u003c/p>\n\u003cp>It’s a little difficult for me to define myself as either a musician or an actor. I grew up playing music. But I would say that in recent years I’ve come back to being a musician because of the decision to become a professional actor. Integration was kind of a given to me at first, because the idea of the “actor-musician” became the zeitgeist around the time when I started performing professionally. So a lot of my early work came from my ability to handle both crafts. Nowadays, I’m fortunate enough to get to integrate both pursuits because of my preference for devised and physically-based work, which means we get to bring our full selves to the table.\u003c/p>\n\u003cp>\u003cstrong>In Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>, you’re on stage playing the cello, acting and singing for hours and hours on end. How many hours are you on stage and how do you go about psyching yourself up for and getting through such a long performance?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I really love “durational” performance and all that it exposes as we’re made to sit with things far longer than we’re typically comfortable with and everything starts to break down. After doing Mugwumpin’s \u003ci>Asomnia\u003c/i>, where we stayed awake and created new performances together every hour-and-a-half for 60 hours straight. Anything less than that feels like cake! I have it really easy in \u003ci>A 24-Decade\u003c/i> with my longest time on stage being six hours. Our music director, Matt Ray, brilliantly arranged all the music so most of the musicians get breaks even during the longer stretches as well. It doesn’t ever feel like I’m playing for very long in the grand scheme of things.\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cfigure id=\"attachment_13660642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13660642\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-800x451.jpg\" alt=\"El Beh as Hamlet in Shotgun Players ‘roulette’ version of Shakespeare work.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540.jpg 890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Beh as Hamlet in Shotgun Players ‘roulette’ version of Shakespeare work. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides my usual grounding, physical and vocal warm up rituals, there isn’t a lot of psyching up I need to do for this piece except to remain present.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I believe we are making progress. But I often desire far more radical measures to be taken to create equity. I think there needs to be a dominance of representation of oppressed peoples because our stories have for so long been silenced, forgotten and disregarded.\u003c/p>\n\u003cp>For me, it’s not just about gender parity, but rather, gender equity. This considers outside of the binary. It’s hard for me to restrict my thinking around gender lines without including its intersections with race, class, sexuality and disability. So what my ideal future looks like for all disenfranchised working artists is equity in representation in the arts with the ability to thrive while making art that matters to them and their particular communities. We need to give these individuals more space and agency so typically underrepresented voices have the opportunity to steer the ship.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We want to hear from you\u003c/a>! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "silicon-valley-composer-transforms-steve-jobs-life-story-into-opera",
"title": "Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera",
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"headTitle": "Silicon Valley Composer Transforms Steve Jobs’ Life Story Into Opera | KQED",
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"content": "\u003cp>Composer and electronica DJ \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mason Bates\u003c/a> is listening intently to the sound of a clicking computer key through speakers rigged up to a laptop in his Burlingame music studio.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/07/20170724JobsOperaVeltman.mp3\" image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1180x668.jpg\" title=\"Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera\" program=\"The California Report\"]\u003c/p>\n\u003cp>Bates admits the key clicks don’t sound like much on their own. But the opening music in his new opera, \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">“The (R)evolution of Steve Jobs”\u003c/a>, morphs out of those simple sounds.\u003c/p>\n\u003cp>“When you take them together and then turn them into a rhythmic device, they create a bit of a tapestry,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11577470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577470\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg\" alt=\"Composer Mason Bates in his home music studio in Burlingame.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Mason Bates in his home music studio in Burlingame. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates often uses digital technology in his orchestral works. He’s written major pieces for the likes of the San Francisco Symphony and the Kennedy Center in Washington, D.C., among other top-tier arts institutions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this is his first full-length opera. And it matters to the 40-year-old composer that the pops, beeps and whizzes in his score come from genuine Apple gear. The key clicks are those of the Mac Plus computer, released in 1986.\u003c/p>\n\u003cp>“While you might not be able to pick out exactly that’s a spinning hard drive of an Apple I, a Power Mac or Mac Plus key click, I think the accumulation of those sounds does lend an authenticity to the sound world,” Bates says.\u003c/p>\n\u003cfigure id=\"attachment_43874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-43874\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/Jobs_2003_rev3.jpg\" alt=\"Steve Jobs in 2003. Creative Commons.\" width=\"1920\" height=\"1755\">\u003cfigcaption class=\"wp-caption-text\">Steve Jobs in 2003. Creative Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>But it takes more than an authentic sound world to make sense of Steve Jobs’ epic life story on stage; it’s not for nothing that Walter Isaacson’s well-known 2011 biography of Jobs (which Bates cites as a major source of inspiration for his opera) runs to more than 650 pages.\u003c/p>\n\u003cp>After all, the man ran three major companies — Apple, NeXT and Pixar — where he oversaw the release of many wildly successful products and movies like the iPhone and \u003ci>Toy Story\u003c/i>.\u003c/p>\n\u003cp>He also had a complicated personal life. Jobs was adopted as a baby; he refused to publicly acknowledge his first child, Lisa Brennan-Jobs, for years; and he died young in 2011 of cancer at the age of 56.\u003c/p>\n\u003cfigure id=\"attachment_11577472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577472\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg\" alt=\"Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1920x1086.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was such a complex individual, I cannot even imagine how you’d capture Steve’s life in an opera,” says Andy Cunningham, who worked closely with Jobs as a publicist and witnessed the ups and down of his career — and erratic temperament — firsthand.\u003c/p>\n\u003cp>Cunningham says Jobs hired and fired her several times, and once demanded calla lilies for his hotel room at midnight. “Steve was a very emotional person, and he was driven largely by his emotions,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11572896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11572896\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg\" alt=\"Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — first hand.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — firsthand. \u003ccite>(Photo: Richard Michel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other individuals and organizations have also questioned the idea of transforming Jobs’ story into opera.\u003c/p>\n\u003cp>For instance, the San Francisco Opera turned down the opportunity to host the world premiere when Bates and his early-stage collaborator on the project, UC Berkeley arts presenter Cal Performances, approached SF Opera’s leadership in 2013. (Since the project was workshopped at the San Francisco Conservatory of Music in 2015 and 2016, SF Opera has come around, and will be producing the work in its 2019-2020 season.)\u003c/p>\n\u003cp>But Bates revels in the complexity and emotionality of his subject. “His actual life is the stuff of opera,” Bates says.\u003c/p>\n\u003cp>The opera careens backward and forward between episodes in Jobs’ life. In one scene he’s launching the iPhone at MacWorld 2007. Then it’s 1974 and he’s dropping acid in an orchard with his girlfriend.\u003c/p>\n\u003cp>The work also weaves together intricate theme tunes for each individual character. There’s jazzy saxophone music for Steve Wozniak, Jobs’ partner in the early years of Apple. Gongs and prayer bowls illustrate Jobs’ spiritual adviser, Kobun Chino Otogawa.\u003c/p>\n\u003cfigure id=\"attachment_11577471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577471\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg\" alt=\"Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1920x1088.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-520x295.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appropriately, Bates has created a sound world for the opera’s protagonist that features quicksilver electronic sounds and acoustic guitar — an instrument that Jobs adored, especially as played by Joan Baez and Bob Dylan.\u003c/p>\n\u003cp>And while operatic heroes are usually played by tenors, this one’s a baritone — a darker, more nuanced voice. American singer Edward Parks plays the character of Jobs in the world premiere production, opening in Santa Fe, New Mexico, this weekend. Like a true baritone, Parks isn’t afraid to embrace Jobs’ dark side.\u003c/p>\n\u003cp>“I’m mostly drawn to his flaws,” Parks says. “The arc of his life is grand. There’s a lot of betrayal, there’s a lot of anger towards people, and there’s a lot of love as well.”\u003c/p>\n\u003cp>All ingredients ripe for opera.\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\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\"> “The (R)evolution of Steve Jobs”\u003c/a> opens this weekend at Santa Fe Opera in Santa Fe, New Mexico. There will be a California production at San Francisco Opera during the company’s 2019-2020 season.\u003c/p>\n\n",
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"excerpt": "Burlingame-based composer Mason Bates unleashes his new, electronica-infused opera about the tech icon, 'The (R)evolution of Steve Jobs.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Composer and electronica DJ \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mason Bates\u003c/a> is listening intently to the sound of a clicking computer key through speakers rigged up to a laptop in his Burlingame music studio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bates admits the key clicks don’t sound like much on their own. But the opening music in his new opera, \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">“The (R)evolution of Steve Jobs”\u003c/a>, morphs out of those simple sounds.\u003c/p>\n\u003cp>“When you take them together and then turn them into a rhythmic device, they create a bit of a tapestry,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11577470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577470\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg\" alt=\"Composer Mason Bates in his home music studio in Burlingame.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Mason Bates in his home music studio in Burlingame. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates often uses digital technology in his orchestral works. He’s written major pieces for the likes of the San Francisco Symphony and the Kennedy Center in Washington, D.C., among other top-tier arts institutions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this is his first full-length opera. And it matters to the 40-year-old composer that the pops, beeps and whizzes in his score come from genuine Apple gear. The key clicks are those of the Mac Plus computer, released in 1986.\u003c/p>\n\u003cp>“While you might not be able to pick out exactly that’s a spinning hard drive of an Apple I, a Power Mac or Mac Plus key click, I think the accumulation of those sounds does lend an authenticity to the sound world,” Bates says.\u003c/p>\n\u003cfigure id=\"attachment_43874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-43874\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/Jobs_2003_rev3.jpg\" alt=\"Steve Jobs in 2003. Creative Commons.\" width=\"1920\" height=\"1755\">\u003cfigcaption class=\"wp-caption-text\">Steve Jobs in 2003. Creative Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>But it takes more than an authentic sound world to make sense of Steve Jobs’ epic life story on stage; it’s not for nothing that Walter Isaacson’s well-known 2011 biography of Jobs (which Bates cites as a major source of inspiration for his opera) runs to more than 650 pages.\u003c/p>\n\u003cp>After all, the man ran three major companies — Apple, NeXT and Pixar — where he oversaw the release of many wildly successful products and movies like the iPhone and \u003ci>Toy Story\u003c/i>.\u003c/p>\n\u003cp>He also had a complicated personal life. Jobs was adopted as a baby; he refused to publicly acknowledge his first child, Lisa Brennan-Jobs, for years; and he died young in 2011 of cancer at the age of 56.\u003c/p>\n\u003cfigure id=\"attachment_11577472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577472\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg\" alt=\"Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1920x1086.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was such a complex individual, I cannot even imagine how you’d capture Steve’s life in an opera,” says Andy Cunningham, who worked closely with Jobs as a publicist and witnessed the ups and down of his career — and erratic temperament — firsthand.\u003c/p>\n\u003cp>Cunningham says Jobs hired and fired her several times, and once demanded calla lilies for his hotel room at midnight. “Steve was a very emotional person, and he was driven largely by his emotions,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11572896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11572896\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg\" alt=\"Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — first hand.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — firsthand. \u003ccite>(Photo: Richard Michel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other individuals and organizations have also questioned the idea of transforming Jobs’ story into opera.\u003c/p>\n\u003cp>For instance, the San Francisco Opera turned down the opportunity to host the world premiere when Bates and his early-stage collaborator on the project, UC Berkeley arts presenter Cal Performances, approached SF Opera’s leadership in 2013. (Since the project was workshopped at the San Francisco Conservatory of Music in 2015 and 2016, SF Opera has come around, and will be producing the work in its 2019-2020 season.)\u003c/p>\n\u003cp>But Bates revels in the complexity and emotionality of his subject. “His actual life is the stuff of opera,” Bates says.\u003c/p>\n\u003cp>The opera careens backward and forward between episodes in Jobs’ life. In one scene he’s launching the iPhone at MacWorld 2007. Then it’s 1974 and he’s dropping acid in an orchard with his girlfriend.\u003c/p>\n\u003cp>The work also weaves together intricate theme tunes for each individual character. There’s jazzy saxophone music for Steve Wozniak, Jobs’ partner in the early years of Apple. Gongs and prayer bowls illustrate Jobs’ spiritual adviser, Kobun Chino Otogawa.\u003c/p>\n\u003cfigure id=\"attachment_11577471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577471\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg\" alt=\"Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1920x1088.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-520x295.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appropriately, Bates has created a sound world for the opera’s protagonist that features quicksilver electronic sounds and acoustic guitar — an instrument that Jobs adored, especially as played by Joan Baez and Bob Dylan.\u003c/p>\n\u003cp>And while operatic heroes are usually played by tenors, this one’s a baritone — a darker, more nuanced voice. American singer Edward Parks plays the character of Jobs in the world premiere production, opening in Santa Fe, New Mexico, this weekend. Like a true baritone, Parks isn’t afraid to embrace Jobs’ dark side.\u003c/p>\n\u003cp>“I’m mostly drawn to his flaws,” Parks says. “The arc of his life is grand. There’s a lot of betrayal, there’s a lot of anger towards people, and there’s a lot of love as well.”\u003c/p>\n\u003cp>All ingredients ripe for opera.\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\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\"> “The (R)evolution of Steve Jobs”\u003c/a> opens this weekend at Santa Fe Opera in Santa Fe, New Mexico. There will be a California production at San Francisco Opera during the company’s 2019-2020 season.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "parents-lament-loss-as-sunnyvales-california-theatre-center-closes",
"title": "Parents Lament Loss as Sunnyvale's California Theatre Center Closes",
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"content": "\u003cp>“Dear Friend of CTC,” begins the post on the California Theatre Center’s \u003ca href=\"https://www.facebook.com/CaliforniaTheatreCenter/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>California Theatre Center will be closing its doors, effective August 1, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cem>After 41 years in the business of offering performances to audiences of over seven million and providing education programs for thousands of students, CTC’s board and senior management, after careful deliberation, have concluded that it is not possible to maintain our quality of services to our community. Escalating costs and limited resources make it unsustainable for the compa\u003cspan class=\"text_exposed_show\">ny to continue operation.\u003c/span>\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Community reaction was immediate and rueful. Here’s one typical comment from Alex Moissis: “\u003cspan class=\"UFICommentBody _1n4g\">How sad! … Our children … owe their confidence on stage and their communication and team-building skills to their mentors and friends at CTC. Through the program their command of the English language expanded as they became acquainted with wonderful theater works. Our family will never forget CTC.”\u003c/span>\u003c/p>\n\u003cp>Josie Saracino taught kindergarten and first grade for 20 years at Peninsula School in Menlo Park. “All of those years, I brought my kids to the California Theatre Center. A lot of them had never seen a live performance.”\u003c/p>\n\u003cp>Saracino would build lesson plans around the play. The class would read the book beforehand, and draw their favorite scenes after. “It was so wonderful. I wish they could have found a funder,” Saracino said.\u003c/p>\n\u003cp>“I’m having trouble finding words to express my sorrow at the loss of this great resource to our educational community,” wrote Kathleen Flynn, a teacher at Ohlone Elementary School in Palo Alto. “I cannot tell you how many wonderful plays our kids saw at CTC and how these talented actors and actresses brought to life so many stories for them…I just don’t see how we can allow this to happen as a community. I’m heart broken.”\u003c/p>\n\u003cfigure id=\"attachment_13696700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13696700 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg\" alt='From \"Peter Rabbit,\" performed by the California Theatre Center.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From “Peter Rabbit,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ctcinc.org\" target=\"_blank\" rel=\"noopener noreferrer\">California Theatre Center’\u003c/a>s Box Office Manager Diana Burnell wrote KQED to say that the rising cost of living in Silicon Valley led to the closure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have been struggling for years to make ends meet. Essentially, the costs of doing business in Silicon Valley just kept increasing and we were unable to increase income to meet those costs,” Burnell wrote. “We hired full-time actor/teachers and administrators, and being able to pay them a livable wage in Silicon Valley became nigh impossible.”\u003c/p>\n\u003cp>Not to mention the cost of renting space, and everything else, Burnell says. “The rental costs for our offices, storage, and the theaters we used (including the Sunnyvale Community Center Theatre), as well as other costs such as insurance, set and costume supplies, and hotel costs (when we toured across the western states) kept increasing year after year.”\u003c/p>\n\u003cp>Burnell added that the Center relied largely on ticket sales and tuition fees, as opposed to donations.\u003c/p>\n\u003cp>“Changes in field trip policies (bus costs, background checks and other restrictions on parent drivers, car seat laws, among others) had a large impact on the number of tickets we were able to sell for our field trip performances,” Burnell wrote. “Enrollment in our Education programs was also declining, as more theatre programs became available and as more STEM oriented programs arose.”\u003c/p>\n\u003cfigure id=\"attachment_13696702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg\" alt=\"A scene from "Madeline's Christmas," performed by the California Theatre Center.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from “Madeline’s Christmas,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunnyvale Mayor Glenn Hendricks provided this brief statement: “Community theater is a vital part of creative arts in our community and we’re grateful to the California Theatre Center for their dedication to performance over the years.”\u003c/p>\n\u003cp>Dale Albright, Program Director at \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a> in San Francisco, sounded sad over CTC’s news when he spoke to KQED Wednesday. He said he knew many people who have come from the California Theatre Center or went on to work there, including two couples who met at CTC and later married.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I recognize the impact (the CTC) had on youth and arts education,” Albright said. “They live in a world that’s connected, adjacent to mine.”\u003c/p>\n\n",
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"title": "Parents Lament Loss as Sunnyvale's California Theatre Center Closes | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Dear Friend of CTC,” begins the post on the California Theatre Center’s \u003ca href=\"https://www.facebook.com/CaliforniaTheatreCenter/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>California Theatre Center will be closing its doors, effective August 1, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cem>After 41 years in the business of offering performances to audiences of over seven million and providing education programs for thousands of students, CTC’s board and senior management, after careful deliberation, have concluded that it is not possible to maintain our quality of services to our community. Escalating costs and limited resources make it unsustainable for the compa\u003cspan class=\"text_exposed_show\">ny to continue operation.\u003c/span>\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Community reaction was immediate and rueful. Here’s one typical comment from Alex Moissis: “\u003cspan class=\"UFICommentBody _1n4g\">How sad! … Our children … owe their confidence on stage and their communication and team-building skills to their mentors and friends at CTC. Through the program their command of the English language expanded as they became acquainted with wonderful theater works. Our family will never forget CTC.”\u003c/span>\u003c/p>\n\u003cp>Josie Saracino taught kindergarten and first grade for 20 years at Peninsula School in Menlo Park. “All of those years, I brought my kids to the California Theatre Center. A lot of them had never seen a live performance.”\u003c/p>\n\u003cp>Saracino would build lesson plans around the play. The class would read the book beforehand, and draw their favorite scenes after. “It was so wonderful. I wish they could have found a funder,” Saracino said.\u003c/p>\n\u003cp>“I’m having trouble finding words to express my sorrow at the loss of this great resource to our educational community,” wrote Kathleen Flynn, a teacher at Ohlone Elementary School in Palo Alto. “I cannot tell you how many wonderful plays our kids saw at CTC and how these talented actors and actresses brought to life so many stories for them…I just don’t see how we can allow this to happen as a community. I’m heart broken.”\u003c/p>\n\u003cfigure id=\"attachment_13696700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13696700 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg\" alt='From \"Peter Rabbit,\" performed by the California Theatre Center.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From “Peter Rabbit,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ctcinc.org\" target=\"_blank\" rel=\"noopener noreferrer\">California Theatre Center’\u003c/a>s Box Office Manager Diana Burnell wrote KQED to say that the rising cost of living in Silicon Valley led to the closure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have been struggling for years to make ends meet. Essentially, the costs of doing business in Silicon Valley just kept increasing and we were unable to increase income to meet those costs,” Burnell wrote. “We hired full-time actor/teachers and administrators, and being able to pay them a livable wage in Silicon Valley became nigh impossible.”\u003c/p>\n\u003cp>Not to mention the cost of renting space, and everything else, Burnell says. “The rental costs for our offices, storage, and the theaters we used (including the Sunnyvale Community Center Theatre), as well as other costs such as insurance, set and costume supplies, and hotel costs (when we toured across the western states) kept increasing year after year.”\u003c/p>\n\u003cp>Burnell added that the Center relied largely on ticket sales and tuition fees, as opposed to donations.\u003c/p>\n\u003cp>“Changes in field trip policies (bus costs, background checks and other restrictions on parent drivers, car seat laws, among others) had a large impact on the number of tickets we were able to sell for our field trip performances,” Burnell wrote. “Enrollment in our Education programs was also declining, as more theatre programs became available and as more STEM oriented programs arose.”\u003c/p>\n\u003cfigure id=\"attachment_13696702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg\" alt=\"A scene from "Madeline's Christmas," performed by the California Theatre Center.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from “Madeline’s Christmas,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunnyvale Mayor Glenn Hendricks provided this brief statement: “Community theater is a vital part of creative arts in our community and we’re grateful to the California Theatre Center for their dedication to performance over the years.”\u003c/p>\n\u003cp>Dale Albright, Program Director at \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a> in San Francisco, sounded sad over CTC’s news when he spoke to KQED Wednesday. He said he knew many people who have come from the California Theatre Center or went on to work there, including two couples who met at CTC and later married.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I recognize the impact (the CTC) had on youth and arts education,” Albright said. “They live in a world that’s connected, adjacent to mine.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
},
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"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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"order": 15
},
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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",
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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"
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},
"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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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"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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},
"link": "/radio/program/pbs-newshour",
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"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",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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