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"content": "\u003cp>At the end of his Dec. 8, 1980 concert in Oakland, Stevie Wonder stepped to the edge of the stage to \u003ca href=\"https://youtu.be/ljhxw3S9wP4\">deliver the news of John Lennon’s murder\u003c/a>. Wonder was eloquent; his impromptu eulogy has the feeling of one God speaking on the demise of another.\u003c/p>\n\u003cp>Standing next to the pop icon on stage that night was a tall, graceful man who also possessed something of the divine in him. Even then, at 31 years of age, Gil Scott-Heron had a haunted splendor. For the multi-talented novelist, poet, proto-rapper, political provocateur and musician, the ensuing years of drug addiction and public exile were just beginning. That haunted look would soon turn into a full-blown ravaging.\u003c/p>\n\u003cp>So I was eagerly anticipating what Han Ong, the award-winning novelist of \u003cem>Fixer Chao\u003c/em> and a playwright with his own shifty sensibility, might do with the figure of Scott-Heron in \u003cem>Grandeur, \u003c/em>a \u003ca href=\"http://magictheatre.org\">Magic Theatre\u003c/a> world premiere. Even the title \u003cem>Grandeur\u003c/em> seems a perfect reflection of the man who gave us both the searing “\u003ca href=\"https://www.youtube.com/watch?v=PtBy_ppG4hY\">Whitey on the Moon\u003c/a>” and the gentle “\u003ca href=\"https://youtu.be/c2LpRlBiqYY\">I Think I’ll Call It Morning\u003c/a>.” With all that rage and beauty roiling in him, I imagine that Ong must have seen in Scott-Heron a kind of modern-day tragic hero of the Greek sort.\u003c/p>\n\u003cfigure id=\"attachment_13398620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13398620\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-800x452.jpg\" alt=\"Gil Scott-Heron (Carl Lumbly) sits in the darkness in 'Grandeur' by Han One.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gil Scott-Heron (Carl Lumbly) sits in the darkness in ‘Grandeur’ by Han Ong. \u003ccite>(Photo: Jennifer Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Grandeur\u003c/em> begins, appropriately, in extreme darkness. The stage is as dimly lit as can be, and stays that way for some time. Steve Barron, a young African-American journalist writing for the \u003cem>New York Review of Books, \u003c/em>struggles to find his way to the door of Scott-Heron’s basement apartment. He’s looking to write a career-making article on the fallen musician, whose comeback album, \u003cem>I’m New Here\u003c/em>, has spurred a great deal of interest in the man, his work, and the sorry state of his life.\u003c/p>\n\u003cp>The always-terrific Carl Lumbly nails Scott-Heron’s unmistakable voice and lofty, ambling gait. For a moment, you feel as if you’re in a ghost story — that is, until a tsunami of clichés comes crashing through after about 12 minutes. From then on, you know you’re not watching a play suffused with the spirit of Scott-Heron, but rather a work intent on turning him into a kind of spiritual sitcom dad who does nutty things while dispensing dollops of streetwise wisdom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The uptight, topsider-wearing, haute-bourgeois striver Barron isn’t so much a character as a foil for this version of Scott-Heron to parry a series of well-timed jokes. I’d be lying if I said parts of it weren’t vaguely amusing: Scott-Heron rapping about Fanta soda or coming up with crazy schemes to get Barron to buy him a bit of crack cocaine. Yet Ong’s desire to please is dispiriting, and his skirting around the horrors of addiction is an insult to anyone interested in, or who understands, what it feels like to live in a state of unending despair.\u003c/p>\n\u003cfigure id=\"attachment_13398621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13398621\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-800x450.jpg\" alt=\"(L to R) Journalist Steve Barron (Rafael Jordon) and Gil Scott-Heron (Carl Lumbly) lay down a rap about Fanta soda in 'Grandeur' by Han Ong.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Journalist Steve Barron (Rafael Jordon) and Gil Scott-Heron (Carl Lumbly) lay down a rap about Fanta soda in ‘Grandeur’ by Han Ong. \u003ccite>(Photo: Jennifer Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than finding an aesthetic correlative for a stunning life, Ong merely checks off themes. When the portentously named Miss Julie — Scott-Heron’s caretaker and a 42-year old Columbia undergrad with a temper — enters towards the end of the evening, her sole purpose is to make sure that we understand the play’s many lessons. She delivers a number of correctives about race, fame, art, and adulation at the expense of the too-naive Barron and then leaves. It’s as if we’re being reassured that something significant has happened.\u003c/p>\n\u003cp>In these times, it’s hard to think of a more fascinating and emblematic artist than Scott-Heron. His mystery should demand great art. But Ong’s retreat into commercial sitcom aesthetics is just another example of how timid our playwrights and theaters have become. They don’t deserve Gil Scott-Heron — neither the artist nor the junkie.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Grandeur’ runs through Sunday, Jun. 25, at the Magic Theatre in San Francisco. \u003ca href=\"http://magictheatre.org\">Tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Magic Theatre's world premiere about the multitalented, troubled artist unfortunately resorts to clichés and heavy-handed themes. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the end of his Dec. 8, 1980 concert in Oakland, Stevie Wonder stepped to the edge of the stage to \u003ca href=\"https://youtu.be/ljhxw3S9wP4\">deliver the news of John Lennon’s murder\u003c/a>. Wonder was eloquent; his impromptu eulogy has the feeling of one God speaking on the demise of another.\u003c/p>\n\u003cp>Standing next to the pop icon on stage that night was a tall, graceful man who also possessed something of the divine in him. Even then, at 31 years of age, Gil Scott-Heron had a haunted splendor. For the multi-talented novelist, poet, proto-rapper, political provocateur and musician, the ensuing years of drug addiction and public exile were just beginning. That haunted look would soon turn into a full-blown ravaging.\u003c/p>\n\u003cp>So I was eagerly anticipating what Han Ong, the award-winning novelist of \u003cem>Fixer Chao\u003c/em> and a playwright with his own shifty sensibility, might do with the figure of Scott-Heron in \u003cem>Grandeur, \u003c/em>a \u003ca href=\"http://magictheatre.org\">Magic Theatre\u003c/a> world premiere. Even the title \u003cem>Grandeur\u003c/em> seems a perfect reflection of the man who gave us both the searing “\u003ca href=\"https://www.youtube.com/watch?v=PtBy_ppG4hY\">Whitey on the Moon\u003c/a>” and the gentle “\u003ca href=\"https://youtu.be/c2LpRlBiqYY\">I Think I’ll Call It Morning\u003c/a>.” With all that rage and beauty roiling in him, I imagine that Ong must have seen in Scott-Heron a kind of modern-day tragic hero of the Greek sort.\u003c/p>\n\u003cfigure id=\"attachment_13398620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13398620\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-800x452.jpg\" alt=\"Gil Scott-Heron (Carl Lumbly) sits in the darkness in 'Grandeur' by Han One.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1_Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992061821-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gil Scott-Heron (Carl Lumbly) sits in the darkness in ‘Grandeur’ by Han Ong. \u003ccite>(Photo: Jennifer Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Grandeur\u003c/em> begins, appropriately, in extreme darkness. The stage is as dimly lit as can be, and stays that way for some time. Steve Barron, a young African-American journalist writing for the \u003cem>New York Review of Books, \u003c/em>struggles to find his way to the door of Scott-Heron’s basement apartment. He’s looking to write a career-making article on the fallen musician, whose comeback album, \u003cem>I’m New Here\u003c/em>, has spurred a great deal of interest in the man, his work, and the sorry state of his life.\u003c/p>\n\u003cp>The always-terrific Carl Lumbly nails Scott-Heron’s unmistakable voice and lofty, ambling gait. For a moment, you feel as if you’re in a ghost story — that is, until a tsunami of clichés comes crashing through after about 12 minutes. From then on, you know you’re not watching a play suffused with the spirit of Scott-Heron, but rather a work intent on turning him into a kind of spiritual sitcom dad who does nutty things while dispensing dollops of streetwise wisdom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The uptight, topsider-wearing, haute-bourgeois striver Barron isn’t so much a character as a foil for this version of Scott-Heron to parry a series of well-timed jokes. I’d be lying if I said parts of it weren’t vaguely amusing: Scott-Heron rapping about Fanta soda or coming up with crazy schemes to get Barron to buy him a bit of crack cocaine. Yet Ong’s desire to please is dispiriting, and his skirting around the horrors of addiction is an insult to anyone interested in, or who understands, what it feels like to live in a state of unending despair.\u003c/p>\n\u003cfigure id=\"attachment_13398621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13398621\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-800x450.jpg\" alt=\"(L to R) Journalist Steve Barron (Rafael Jordon) and Gil Scott-Heron (Carl Lumbly) lay down a rap about Fanta soda in 'Grandeur' by Han Ong.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/5_L-R-Rafael-Jordan-and-Carl-Lumbly-in-GRANDEUR-at-Magic-Theatre.-Photo-by-Jennifer-Riley-e1496992389306-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Journalist Steve Barron (Rafael Jordon) and Gil Scott-Heron (Carl Lumbly) lay down a rap about Fanta soda in ‘Grandeur’ by Han Ong. \u003ccite>(Photo: Jennifer Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than finding an aesthetic correlative for a stunning life, Ong merely checks off themes. When the portentously named Miss Julie — Scott-Heron’s caretaker and a 42-year old Columbia undergrad with a temper — enters towards the end of the evening, her sole purpose is to make sure that we understand the play’s many lessons. She delivers a number of correctives about race, fame, art, and adulation at the expense of the too-naive Barron and then leaves. It’s as if we’re being reassured that something significant has happened.\u003c/p>\n\u003cp>In these times, it’s hard to think of a more fascinating and emblematic artist than Scott-Heron. His mystery should demand great art. But Ong’s retreat into commercial sitcom aesthetics is just another example of how timid our playwrights and theaters have become. They don’t deserve Gil Scott-Heron — neither the artist nor the junkie.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Grandeur’ runs through Sunday, Jun. 25, at the Magic Theatre in San Francisco. \u003ca href=\"http://magictheatre.org\">Tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-john-vanderslices-picks-a-feast-of-music-festivals-and-an-ode-to-a-good-kid",
"title": "Cy and John Vanderslice's Picks: A Feast of Music Festivals and an Ode to a Good Kid",
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"content": "\u003cp>Yes, The Do List is changing. We’re welcoming guest hosts to join me in the studio each week, and we’re so happy to start this state of perpetual renewal with \u003ca href=\"http://www.johnvanderslice.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Vanderslice\u003c/a>, a singer-songwriter, record producer, and master of the analog reel-to-reel at Tiny Telephone Studios in San Francisco and Oakland. John also helps organize the \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival\u003c/a>, and that’s part of our lineup on the show this week. And one more thing. The Do List needs your help. \u003cstrong>We want to know what you think about our experiments\u003c/strong>. Follow\u003ca href=\"https://docs.google.com/a/kqed.org/forms/d/e/1FAIpQLSdPzmeFGcnpnPkYw_dq-afHmiCyV6ESV0sXWCMTMfsa0KhDJw/viewform?c=0&w=1\" target=\"_blank\" rel=\"noopener noreferrer\"> this link to a few short questions\u003c/a>. Please answer them by Monday, June 12. And thanks! Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fxICQySR1e0\u003c/p>\n\u003cp>\u003cstrong>June 9-10\u003c/strong>: \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica\u003c/a> is one of those little music festivals that get a lot of love because they’re \u003cem>not \u003c/em>the big gobstoppers like BottleRock or Outside Lands. Huichica still manages the warm, outdoor wine and food country vibe, because it’s hosted and sponsored by \u003ca href=\"http://www.gunbun.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gundlach Bundschu Winery\u003c/a> in the town of Sonoma. The artists that caught our ear include Heron Oblivion, who make psychedelic rock withdreamy vocals from singer Meg Baird, Cass McCombs (John loves his latest album), and Robyn Hitchcock. (\u003ca href=\"http://www.sfgate.com/music/article/Robyn-Hitchcock-s-songs-pour-out-from-6143274.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s ode to San Francisco, \u003cem>Eye\u003c/em>\u003c/a> is another of John’s favorites.) And we both love Gospel Beach and Christopher Owens’ (Girls) new band Curls. Details for \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QWhJqvuB1ZA\u003c/p>\n\u003cp>\u003cstrong>June 22-24\u003c/strong>: \u003ca href=\"http://gadelmaleh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gad Elmaleh\u003c/a> is the Moroccan-born-French version of Jerry Seinfeld. He does observational comedy about everyday stuff, like dating and airline travel (and he was a guest on Seinfeld’s \u003cem>Comedians in Cars Getting Coffee)\u003c/em>, but his best jokes are about culture clashes. He’s a Sephardic Jew from an Arab country who speaks Hebrew, French, Arabic, and now Elmaleh’s trying to make it in the US even as he’s still mastering English. Details on Elmaleh’s show at the Improv in San Jose later this month are\u003ca href=\"http://sanjose.improv.com/comedian/tw-eventinfo/Gad+Elmaleh/7407085/\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ujfG_ZYdOtM\u003c/p>\n\u003cp>\u003cstrong>June 10: \u003c/strong>\u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Switchboard Music Festiva\u003c/a>l is all about classical chamber music by living people. Which sounds so obvious, except new music gets such a raw deal from the big classical arts organizations, and way too many audience members. Don’t be scared. A lot of the music is just lovely (\u003ca href=\"http://www.splinterreeds.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Splinter Reeds\u003c/a>), and there’s an ambitious mini-opera by \u003ca href=\"http://www.dinamaccabee.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Dina Maccabee \u003c/a>and Jesse Olsen Bay based on Gertrude Stein’s children’s book \u003cem>Roses are Blue\u003c/em>. Veteran Bay Area new music crusaders The Kronos Quartet play the final hour of this marathon show (3-9 pm). As John notes, new music expands your brain. Details for the 10th annual Switchboard Music Festival at Z Space are \u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SiDBiIsFiqU\u003c/p>\n\u003cp>\u003cstrong>June 15- 17\u003c/strong>: Ojai in Berkeley is another annual festival of new music, an extension of the Ojai Music Festival in the idyllic little town of Ojai east of Santa Barbara. A new artistic director picks the music every year, with pianist and composer Vijay Iyer in charge for 2017. He’s programmed a new concerto he wrote for the talented violinist Jennifer Koh, a concert with Indian musicians, including tabla master Zakir Hussain, plus an opera by trombonist and composer George Lewis, who writes avant-garde scores (like Iyer) mixing jazz and classical. Details for these Cal Performances concerts at Zellerbach Hall and Zellerbach Playhouse are \u003ca href=\"http://secure.calperformances.org/single/eventlisting.aspx?k=142\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qu6k0Xh2VSU\u003c/p>\n\u003cp>\u003cstrong>June 9-11\u003c/strong>: John and I couldn’t resist adding these three concerts from the San Francisco Symphony, with \u003ca href=\"http://www.harrisonparrott.com/artist/profile/susanna-malkki\" target=\"_blank\" rel=\"noopener noreferrer\">Susanna Mälkki \u003c/a>guest conducting. She’s very sympatico with the musicians in Davies Hall, and I’m always wondering, who will someday replace the ageless Michael Tilson Thomas. Mälkki’s record here, especially tackling contemporary works, would seem to make her a great choice. She’s conducting Stravinsky’s Rite of Spring and Beethoven’s Piano Concerto #1 with the great Garrick Ohlson. Details for the concerts are\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar?gclid=CIiq2JbhrNQCFQ94fgodzdIMbg\" target=\"_blank\" rel=\"noopener noreferrer\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 15-July 9\u003c/strong>: Margo Hall is directing \u003cem>brownsville song (b-side for tray)\u003c/em>, a Bay Area premiere by Kimber Lee at \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Shotgun Players \u003c/a>in Berkeley. It’s a show about a black high schooler who plays by all the rules, and still something awful happens to him and his family. I’m a big fan of Hall as both an actor and director. She’s so good at finding the humanity and individuality in the people she plays, and she’s terrific at helping her actors do the same in the shows she directs. Details for \u003cem>brownsville song \u003c/em>at Shotgun in Berkeley\u003ca href=\"https://shotgunplayers.org/Online/brownsville\" target=\"_blank\" rel=\"noopener noreferrer\"> are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1XpaGaCXn5w\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: The \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival \u003c/a>was John’s brainchild seven years ago. He lives nearby and saw how Potero del Sol Park was lovely and sunny, with birthday parties galore on weekends, but still underused. John invited the \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Bridged \u003c/a>to come on board to help produce this daylong fest, in which pop and rock mixed with Dvorak. The mission continues: feature the wonderfully eclectic sounds of Bay Area bands, plus a rich mix of food trucks. This year Melina Duterte, known as Jay Som, is one of the headliners, riding a wave of praise for her first full album (\u003cem>Everybody Works\u003c/em>). You can also hear the ingenious chamber jazz and Afro-pop of Bells Atlas, singer-songwriter Sean Hayes, indie rockers Never Young, rappers Duckwrth and R&B singer Rayana Jay from Richmond. John thinks Thee Oh Sees do one of the best live shows of any band, and will make a great closer. Details for Phono del Sol \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R6NiZitg9l8\u003c/p>\n\u003cp>A few extras this week: John recommends \u003ca href=\"http://bombadilmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bombadil\u003c/a>, an acoustic folk-pop band from Durham, NC, with a serious interest in Tolkien, and a fastidious approach to recording (no electric instruments ever). Details for their gig \u003cstrong>June 11\u003c/strong> at the Cafe du Nord \u003ca href=\"http://www.ticketfly.com/purchase/event/1469213?utm_medium=459899\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\u003c/a> I squeezed in \u003ca href=\"http://lizzwright.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lizz Wright\u003c/a>, part of the lineup at the SFJAZZ Festival. Wright has the warmest, most sensuous voice, and is doing a tribute \u003cstrong>June 9 and 10\u003c/strong> to Ella Fitzgerald. \u003ca href=\"https://www.sfjazz.org/events/35sfjf/0610/lizz-wright\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13389701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13389701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg\" alt=\"KQED's Cy Musiker and Do List guest co-host John Vanderslice\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1920x1068.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1180x656.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Do List guest co-host John Vanderslice \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "Cy and John Vanderslice's Picks: A Feast of Music Festivals and an Ode to a Good Kid | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, The Do List is changing. We’re welcoming guest hosts to join me in the studio each week, and we’re so happy to start this state of perpetual renewal with \u003ca href=\"http://www.johnvanderslice.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Vanderslice\u003c/a>, a singer-songwriter, record producer, and master of the analog reel-to-reel at Tiny Telephone Studios in San Francisco and Oakland. John also helps organize the \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival\u003c/a>, and that’s part of our lineup on the show this week. And one more thing. The Do List needs your help. \u003cstrong>We want to know what you think about our experiments\u003c/strong>. Follow\u003ca href=\"https://docs.google.com/a/kqed.org/forms/d/e/1FAIpQLSdPzmeFGcnpnPkYw_dq-afHmiCyV6ESV0sXWCMTMfsa0KhDJw/viewform?c=0&w=1\" target=\"_blank\" rel=\"noopener noreferrer\"> this link to a few short questions\u003c/a>. Please answer them by Monday, June 12. And thanks! Now here’s 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/fxICQySR1e0'\n title='//www.youtube.com/embed/fxICQySR1e0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 9-10\u003c/strong>: \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica\u003c/a> is one of those little music festivals that get a lot of love because they’re \u003cem>not \u003c/em>the big gobstoppers like BottleRock or Outside Lands. Huichica still manages the warm, outdoor wine and food country vibe, because it’s hosted and sponsored by \u003ca href=\"http://www.gunbun.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gundlach Bundschu Winery\u003c/a> in the town of Sonoma. The artists that caught our ear include Heron Oblivion, who make psychedelic rock withdreamy vocals from singer Meg Baird, Cass McCombs (John loves his latest album), and Robyn Hitchcock. (\u003ca href=\"http://www.sfgate.com/music/article/Robyn-Hitchcock-s-songs-pour-out-from-6143274.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s ode to San Francisco, \u003cem>Eye\u003c/em>\u003c/a> is another of John’s favorites.) And we both love Gospel Beach and Christopher Owens’ (Girls) new band Curls. Details for \u003ca href=\"http://www.huichica.com/welcome-1\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica 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/QWhJqvuB1ZA'\n title='//www.youtube.com/embed/QWhJqvuB1ZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 22-24\u003c/strong>: \u003ca href=\"http://gadelmaleh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gad Elmaleh\u003c/a> is the Moroccan-born-French version of Jerry Seinfeld. He does observational comedy about everyday stuff, like dating and airline travel (and he was a guest on Seinfeld’s \u003cem>Comedians in Cars Getting Coffee)\u003c/em>, but his best jokes are about culture clashes. He’s a Sephardic Jew from an Arab country who speaks Hebrew, French, Arabic, and now Elmaleh’s trying to make it in the US even as he’s still mastering English. Details on Elmaleh’s show at the Improv in San Jose later this month are\u003ca href=\"http://sanjose.improv.com/comedian/tw-eventinfo/Gad+Elmaleh/7407085/\" target=\"_blank\" rel=\"noopener noreferrer\"> 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/ujfG_ZYdOtM'\n title='//www.youtube.com/embed/ujfG_ZYdOtM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 10: \u003c/strong>\u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Switchboard Music Festiva\u003c/a>l is all about classical chamber music by living people. Which sounds so obvious, except new music gets such a raw deal from the big classical arts organizations, and way too many audience members. Don’t be scared. A lot of the music is just lovely (\u003ca href=\"http://www.splinterreeds.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Splinter Reeds\u003c/a>), and there’s an ambitious mini-opera by \u003ca href=\"http://www.dinamaccabee.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Dina Maccabee \u003c/a>and Jesse Olsen Bay based on Gertrude Stein’s children’s book \u003cem>Roses are Blue\u003c/em>. Veteran Bay Area new music crusaders The Kronos Quartet play the final hour of this marathon show (3-9 pm). As John notes, new music expands your brain. Details for the 10th annual Switchboard Music Festival at Z Space are \u003ca href=\"http://www.switchboardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">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/SiDBiIsFiqU'\n title='//www.youtube.com/embed/SiDBiIsFiqU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 15- 17\u003c/strong>: Ojai in Berkeley is another annual festival of new music, an extension of the Ojai Music Festival in the idyllic little town of Ojai east of Santa Barbara. A new artistic director picks the music every year, with pianist and composer Vijay Iyer in charge for 2017. He’s programmed a new concerto he wrote for the talented violinist Jennifer Koh, a concert with Indian musicians, including tabla master Zakir Hussain, plus an opera by trombonist and composer George Lewis, who writes avant-garde scores (like Iyer) mixing jazz and classical. Details for these Cal Performances concerts at Zellerbach Hall and Zellerbach Playhouse are \u003ca href=\"http://secure.calperformances.org/single/eventlisting.aspx?k=142\" target=\"_blank\" rel=\"noopener noreferrer\">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/Qu6k0Xh2VSU'\n title='//www.youtube.com/embed/Qu6k0Xh2VSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 9-11\u003c/strong>: John and I couldn’t resist adding these three concerts from the San Francisco Symphony, with \u003ca href=\"http://www.harrisonparrott.com/artist/profile/susanna-malkki\" target=\"_blank\" rel=\"noopener noreferrer\">Susanna Mälkki \u003c/a>guest conducting. She’s very sympatico with the musicians in Davies Hall, and I’m always wondering, who will someday replace the ageless Michael Tilson Thomas. Mälkki’s record here, especially tackling contemporary works, would seem to make her a great choice. She’s conducting Stravinsky’s Rite of Spring and Beethoven’s Piano Concerto #1 with the great Garrick Ohlson. Details for the concerts are\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar?gclid=CIiq2JbhrNQCFQ94fgodzdIMbg\" target=\"_blank\" rel=\"noopener noreferrer\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 15-July 9\u003c/strong>: Margo Hall is directing \u003cem>brownsville song (b-side for tray)\u003c/em>, a Bay Area premiere by Kimber Lee at \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Shotgun Players \u003c/a>in Berkeley. It’s a show about a black high schooler who plays by all the rules, and still something awful happens to him and his family. I’m a big fan of Hall as both an actor and director. She’s so good at finding the humanity and individuality in the people she plays, and she’s terrific at helping her actors do the same in the shows she directs. Details for \u003cem>brownsville song \u003c/em>at Shotgun in Berkeley\u003ca href=\"https://shotgunplayers.org/Online/brownsville\" target=\"_blank\" rel=\"noopener noreferrer\"> 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/1XpaGaCXn5w'\n title='//www.youtube.com/embed/1XpaGaCXn5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 17\u003c/strong>: The \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol Festival \u003c/a>was John’s brainchild seven years ago. He lives nearby and saw how Potero del Sol Park was lovely and sunny, with birthday parties galore on weekends, but still underused. John invited the \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Bridged \u003c/a>to come on board to help produce this daylong fest, in which pop and rock mixed with Dvorak. The mission continues: feature the wonderfully eclectic sounds of Bay Area bands, plus a rich mix of food trucks. This year Melina Duterte, known as Jay Som, is one of the headliners, riding a wave of praise for her first full album (\u003cem>Everybody Works\u003c/em>). You can also hear the ingenious chamber jazz and Afro-pop of Bells Atlas, singer-songwriter Sean Hayes, indie rockers Never Young, rappers Duckwrth and R&B singer Rayana Jay from Richmond. John thinks Thee Oh Sees do one of the best live shows of any band, and will make a great closer. Details for Phono del Sol \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">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/R6NiZitg9l8'\n title='//www.youtube.com/embed/R6NiZitg9l8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A few extras this week: John recommends \u003ca href=\"http://bombadilmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bombadil\u003c/a>, an acoustic folk-pop band from Durham, NC, with a serious interest in Tolkien, and a fastidious approach to recording (no electric instruments ever). Details for their gig \u003cstrong>June 11\u003c/strong> at the Cafe du Nord \u003ca href=\"http://www.ticketfly.com/purchase/event/1469213?utm_medium=459899\" target=\"_blank\" rel=\"noopener noreferrer\">are here.\u003c/a> I squeezed in \u003ca href=\"http://lizzwright.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lizz Wright\u003c/a>, part of the lineup at the SFJAZZ Festival. Wright has the warmest, most sensuous voice, and is doing a tribute \u003cstrong>June 9 and 10\u003c/strong> to Ella Fitzgerald. \u003ca href=\"https://www.sfjazz.org/events/35sfjf/0610/lizz-wright\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13389701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13389701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg\" alt=\"KQED's Cy Musiker and Do List guest co-host John Vanderslice\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1920x1068.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1180x656.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-240x133.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_6258-e1496879882857-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Do List guest co-host John Vanderslice \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Finding Power in 'Blasian Narratives'",
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"content": "\u003cp class=\"p1\">\u003cspan class=\"s1\">“What’s being Blasian anyway?” asks one cast member in \u003ca href=\"http://www.blasianproject.org/\">\u003cspan class=\"s2\">\u003ci>Blasian Narratives\u003c/i>\u003c/span>\u003c/a>\u003ci>,\u003c/i> a documentary-theater project staged at Stanford University earlier this year. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The answer lies in the production’s participants — students and alumni of Stanford, as well as those of Spelman College and Morehouse Colleges in Atlanta, GA — as they tell stories about navigating their identity as both black \u003cem>and\u003c/em> Asian (colloquially, “Blasian”).\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“The participants’ stories provide humorous, serious, and poetic looks into how these two worlds intersect,” says the show’s creator and director Jivan Atman, who is Cambodian.\u003c/span>\u003c/p>\n\u003cp class=\"p2\">\u003cspan class=\"s4\">\u003cspan class=\"s3\">Atman \u003c/span>was inspired to create \u003cem>Blasian Narrative\u003c/em>s in 2014 as a college student connecting with Blasian peers at Morehouse, which staged a work-in-progress performance from the project. The \u003c/span>\u003cspan class=\"s1\">following year, while on a semester exchange at Stanford University, Atman discovered students organizing around Black Lives Matter and Asian Pacific Islanders for Black Lives, and felt he was in a supportive environment for continuing the work he started at Morehouse.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp class=\"p2\">\u003cspan class=\"s1\">Since then, some of the original cast’s members have toured the country, making appearances at San Francisco’s \u003ca href=\"http://caamfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest\u003c/a> and Oregon’s \u003ca href=\"http://www.hosteugene.com/disorient/\" target=\"_blank\" rel=\"noopener noreferrer\">DisOrient Asian American Film Festival\u003c/a> to present \u003ca href=\"https://www.youtube.com/watch?v=nJG8AF83cpM\" target=\"_blank\" rel=\"noopener noreferrer\">an hour-long film \u003c/a>about the project. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p2\">\u003cspan class=\"s1\">Above, watch the \u003ci>Blasian Narratives\u003c/i> crew performing a recent west coast show as they share deeply personal experiences, challenge stereotypes and create community. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003ci>Keep up with the group’s future tour dates and film screenings \u003c/i>\u003ca href=\"http://www.blasianproject.org/schedule\">\u003cspan class=\"s2\">\u003ci>here.\u003c/i>\u003c/span>\u003c/a>\u003ci> \u003c/i>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">“What’s being Blasian anyway?” asks one cast member in \u003ca href=\"http://www.blasianproject.org/\">\u003cspan class=\"s2\">\u003ci>Blasian Narratives\u003c/i>\u003c/span>\u003c/a>\u003ci>,\u003c/i> a documentary-theater project staged at Stanford University earlier this year. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The answer lies in the production’s participants — students and alumni of Stanford, as well as those of Spelman College and Morehouse Colleges in Atlanta, GA — as they tell stories about navigating their identity as both black \u003cem>and\u003c/em> Asian (colloquially, “Blasian”).\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“The participants’ stories provide humorous, serious, and poetic looks into how these two worlds intersect,” says the show’s creator and director Jivan Atman, who is Cambodian.\u003c/span>\u003c/p>\n\u003cp class=\"p2\">\u003cspan class=\"s4\">\u003cspan class=\"s3\">Atman \u003c/span>was inspired to create \u003cem>Blasian Narrative\u003c/em>s in 2014 as a college student connecting with Blasian peers at Morehouse, which staged a work-in-progress performance from the project. The \u003c/span>\u003cspan class=\"s1\">following year, while on a semester exchange at Stanford University, Atman discovered students organizing around Black Lives Matter and Asian Pacific Islanders for Black Lives, and felt he was in a supportive environment for continuing the work he started at Morehouse.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp class=\"p2\">\u003cspan class=\"s1\">Since then, some of the original cast’s members have toured the country, making appearances at San Francisco’s \u003ca href=\"http://caamfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest\u003c/a> and Oregon’s \u003ca href=\"http://www.hosteugene.com/disorient/\" target=\"_blank\" rel=\"noopener noreferrer\">DisOrient Asian American Film Festival\u003c/a> to present \u003ca href=\"https://www.youtube.com/watch?v=nJG8AF83cpM\" target=\"_blank\" rel=\"noopener noreferrer\">an hour-long film \u003c/a>about the project. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p2\">\u003cspan class=\"s1\">Above, watch the \u003ci>Blasian Narratives\u003c/i> crew performing a recent west coast show as they share deeply personal experiences, challenge stereotypes and create community. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003ci>Keep up with the group’s future tour dates and film screenings \u003c/i>\u003ca href=\"http://www.blasianproject.org/schedule\">\u003cspan class=\"s2\">\u003ci>here.\u003c/i>\u003c/span>\u003c/a>\u003ci> \u003c/i>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cal Shakes' 'As You Like It' Evokes Ghost Ship and Tent Cities",
"headTitle": "Cal Shakes’ ‘As You Like It’ Evokes Ghost Ship and Tent Cities | KQED",
"content": "\u003cp>Like many Shakespearian comedies, \u003cem>As You Like It\u003c/em> begins in discord and works it way to a tense happiness. More so than the tragedies, these rueful takes on love’s travails feel emblematic of the times\u003cb>,\u003c/b> or at least our most hopeful version of them. Director Desdemona Chiang’s class-conscious meditation on this run-away-to-the-forest-and-slip-into-a-better-world fantasia at \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?BOparam::WScontent::loadArticle::permalink=2017%20As%20You%20Like%20It&BOparam::WScontent::loadArticle::context_id=&sessionlanguage=\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a> is fascinating, though uncertainly executed.\u003c/p>\n\u003cp>We begin in the court of Duke Frederick, who has wrested political control from his elder brother, Duke Senior, both played by James Carpenter with his customary élan and precision. The fissure in the first political family seems to have nestled its way into all the relationships of the kingdom, from the best to the worst. On the side of the best, there’s Rosalind and her cousin Celia, who adore each other despite the rift between their fathers; on the worst, look to Orlando and his brother Oliver, who are in a battle over the younger’s rightful standing in the world.\u003c/p>\n\u003cfigure id=\"attachment_13336591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-800x450.jpg\" alt=\"In the foreground Rosalind (Jessika D. Williams) approaches Orlando (Patrick Russell) who is preparing to fight Charles (Jorma Tagatac), a professional wrestler with a mean streak in Cal Shakes' production of 'As You Like It' by William Shakespeare.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the foreground Rosalind (Jessika D. Williams) approaches Orlando (Patrick Russell) who is preparing to fight Charles (Jorma Tagatac), a professional wrestler on a mission to maim him in Cal Shakes’ production of ‘As You Like It’ by William Shakespeare. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We sense the natural nobility of Rosalind and Orlando, and so when for various reasons they’re both forced into exile, it feels unjust but also a wild opportunity for new freedoms. And that’s where Chiang takes a daring gambit: the forest of Arden, which serves as the domain of Duke Frederick’s brother, and the place where our daring exiles find themselves upon being banished, is not a forest at all; it’s a derelict warehouse.\u003c/p>\n\u003cp>The transformation of the set from the verdant Arcadia of the court to the industrial landscape of Oakland — both displaced and bohemian — is a breathtaking transposition. The production feels like it’s going to take off with it. The most beautiful scene of the evening is when the exiled Duke speaks to his lords of the joys of living outside the court: “Now, my co-mates and brothers in exile/Hath not old custom made this life more sweet/Than that of painted pomp?”\u003c/p>\n\u003cfigure id=\"attachment_13336798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-800x451.jpg\" alt=\"(L to R) The exiled duke (James Carpenter) presides over his warehouse crew (Craig Marker, Lisa Hori-Garcia, and William Thomas Hodgson) as Orlando (Patrick Russell) bullies the dreamy Jaques (Jomar Tagatac) in Cal Shakes' production of 'As You Like It' by William Shakespeare.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) The exiled duke (James Carpenter) presides over his warehouse crew (Craig Marker, Lisa Hori-Garcia, and William Thomas Hodgson) as Orlando (Patrick Russell) bullies the dreamy Jaques (Jomar Tagatac) in Cal Shakes’ production of ‘As You Like It’ by William Shakespeare. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well, that’s the question of the day, isn’t it? And you can’t help but think of the Ghost Ship and its many doubles, the tented homeless encampments under 980, and all the provisional communities that find living in the court of the Bay Area impossible. And so people seek out communities that are both more precarious and fulfilling. Concepts like these often feel tacked on, conceits without resonance. It’s amazing how easily the play slides into Chiang’s vision of the utopia that can be found in a dystopia.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for all the thoughtfulness of the ideas, this \u003cem>As You Like It\u003c/em> fails to achieve the verve and life it promises. Many of the problems come from Chiang’s inability to sustain any kind of dramatic momentum from scene to scene. It’s not so much how the scenes play out, but rather the transitions that are a problem. The few that do work — a rapid-fire costume change that takes us from the exiled Duke’s warehouse to his brother’s chambers in a flash of an instant — are striking and you wonder why the rest of the production is so lack.\u003c/p>\n\u003cp>You want the force of Chiang’s insights to suffuse every aspect of the play, and yet nothing feels properly put together. The visual field is muddied, and the stage is at one and the same time too cramped and too large. In a clever updating, Orlando spray paints Rosalind’s name all over the warehouse set. Yet Patrick Russell, who’s terrific in the role, can’t seem to navigate the set to make the grand gestures necessary for his character and the play. It’s a wonderful idea, yet it falters under unsure execution.\u003c/p>\n\u003cfigure id=\"attachment_13336802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-800x450.jpg\" alt=\"Rosalind (Jessika D. Williams) steals Orlando's (Patrick Russell) spray paint from him.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosalind (Jessika D. Williams) steals Orlando’s (Patrick Russell) spray paint from him. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakespeare’s realism is vast and supple. It contains not just grand visions of the world, but also the granular details of actual life. You can feel this production opening the door to a world we haven’t quite seen and connections we haven’t quite made. But just as surely, it shies away from all the sinew and grit that might have made every last bit of it splendidly real.\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>California Shakespeare Theater’s ‘As You Like It’ runs through Sunday, Jun. 18 at Bruns Amphitheater in Orinda. For tickets and information \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?BOparam::WScontent::loadArticle::permalink=2017%20As%20You%20Like%20It&BOparam::WScontent::loadArticle::context_id=&sessionlanguage=\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Though flawed, Desdemona Chiang's production explores why living in the Bay Area is impossible for communities on the edge.",
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"title": "Cal Shakes' 'As You Like It' Evokes Ghost Ship and Tent Cities | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many Shakespearian comedies, \u003cem>As You Like It\u003c/em> begins in discord and works it way to a tense happiness. More so than the tragedies, these rueful takes on love’s travails feel emblematic of the times\u003cb>,\u003c/b> or at least our most hopeful version of them. Director Desdemona Chiang’s class-conscious meditation on this run-away-to-the-forest-and-slip-into-a-better-world fantasia at \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?BOparam::WScontent::loadArticle::permalink=2017%20As%20You%20Like%20It&BOparam::WScontent::loadArticle::context_id=&sessionlanguage=\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a> is fascinating, though uncertainly executed.\u003c/p>\n\u003cp>We begin in the court of Duke Frederick, who has wrested political control from his elder brother, Duke Senior, both played by James Carpenter with his customary élan and precision. The fissure in the first political family seems to have nestled its way into all the relationships of the kingdom, from the best to the worst. On the side of the best, there’s Rosalind and her cousin Celia, who adore each other despite the rift between their fathers; on the worst, look to Orlando and his brother Oliver, who are in a battle over the younger’s rightful standing in the world.\u003c/p>\n\u003cfigure id=\"attachment_13336591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-800x450.jpg\" alt=\"In the foreground Rosalind (Jessika D. Williams) approaches Orlando (Patrick Russell) who is preparing to fight Charles (Jorma Tagatac), a professional wrestler with a mean streak in Cal Shakes' production of 'As You Like It' by William Shakespeare.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_027-e1496168468241-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the foreground Rosalind (Jessika D. Williams) approaches Orlando (Patrick Russell) who is preparing to fight Charles (Jorma Tagatac), a professional wrestler on a mission to maim him in Cal Shakes’ production of ‘As You Like It’ by William Shakespeare. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We sense the natural nobility of Rosalind and Orlando, and so when for various reasons they’re both forced into exile, it feels unjust but also a wild opportunity for new freedoms. And that’s where Chiang takes a daring gambit: the forest of Arden, which serves as the domain of Duke Frederick’s brother, and the place where our daring exiles find themselves upon being banished, is not a forest at all; it’s a derelict warehouse.\u003c/p>\n\u003cp>The transformation of the set from the verdant Arcadia of the court to the industrial landscape of Oakland — both displaced and bohemian — is a breathtaking transposition. The production feels like it’s going to take off with it. The most beautiful scene of the evening is when the exiled Duke speaks to his lords of the joys of living outside the court: “Now, my co-mates and brothers in exile/Hath not old custom made this life more sweet/Than that of painted pomp?”\u003c/p>\n\u003cfigure id=\"attachment_13336798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-800x451.jpg\" alt=\"(L to R) The exiled duke (James Carpenter) presides over his warehouse crew (Craig Marker, Lisa Hori-Garcia, and William Thomas Hodgson) as Orlando (Patrick Russell) bullies the dreamy Jaques (Jomar Tagatac) in Cal Shakes' production of 'As You Like It' by William Shakespeare.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_127-e1496168991960-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) The exiled duke (James Carpenter) presides over his warehouse crew (Craig Marker, Lisa Hori-Garcia, and William Thomas Hodgson) as Orlando (Patrick Russell) bullies the dreamy Jaques (Jomar Tagatac) in Cal Shakes’ production of ‘As You Like It’ by William Shakespeare. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well, that’s the question of the day, isn’t it? And you can’t help but think of the Ghost Ship and its many doubles, the tented homeless encampments under 980, and all the provisional communities that find living in the court of the Bay Area impossible. And so people seek out communities that are both more precarious and fulfilling. Concepts like these often feel tacked on, conceits without resonance. It’s amazing how easily the play slides into Chiang’s vision of the utopia that can be found in a dystopia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for all the thoughtfulness of the ideas, this \u003cem>As You Like It\u003c/em> fails to achieve the verve and life it promises. Many of the problems come from Chiang’s inability to sustain any kind of dramatic momentum from scene to scene. It’s not so much how the scenes play out, but rather the transitions that are a problem. The few that do work — a rapid-fire costume change that takes us from the exiled Duke’s warehouse to his brother’s chambers in a flash of an instant — are striking and you wonder why the rest of the production is so lack.\u003c/p>\n\u003cp>You want the force of Chiang’s insights to suffuse every aspect of the play, and yet nothing feels properly put together. The visual field is muddied, and the stage is at one and the same time too cramped and too large. In a clever updating, Orlando spray paints Rosalind’s name all over the warehouse set. Yet Patrick Russell, who’s terrific in the role, can’t seem to navigate the set to make the grand gestures necessary for his character and the play. It’s a wonderful idea, yet it falters under unsure execution.\u003c/p>\n\u003cfigure id=\"attachment_13336802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13336802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-800x450.jpg\" alt=\"Rosalind (Jessika D. Williams) steals Orlando's (Patrick Russell) spray paint from him.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/ASL17_198-e1496169369294-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosalind (Jessika D. Williams) steals Orlando’s (Patrick Russell) spray paint from him. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakespeare’s realism is vast and supple. It contains not just grand visions of the world, but also the granular details of actual life. You can feel this production opening the door to a world we haven’t quite seen and connections we haven’t quite made. But just as surely, it shies away from all the sinew and grit that might have made every last bit of it splendidly real.\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>California Shakespeare Theater’s ‘As You Like It’ runs through Sunday, Jun. 18 at Bruns Amphitheater in Orinda. For tickets and information \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?BOparam::WScontent::loadArticle::permalink=2017%20As%20You%20Like%20It&BOparam::WScontent::loadArticle::context_id=&sessionlanguage=\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Asian Artists Front and Center at SF International Arts Festival",
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"content": "\u003cp>This year, in the face of increasing right-wing antipathy to ethnic diversity, the \u003ca href=\"http://www.sfiaf.org\">San Francisco International Arts Festival\u003c/a> has found its rallying cry in a line from German dramatist Bertolt Brecht: “In the dark times, will there also be singing?” \u003c/p>\n\u003cp>To that end, performing artists from 15 different countries join forces with American counterparts at this year’s festival in two busy weeks of music, dance, theater, and performance art. The flood of events includes \u003ca href=\"http://www.sfiaf.org/teatp_doc\">\u003ci>\u003cspan style=\"font-weight: 400\">One Day We Will All Be Happy\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, a darkly humorous play from Russia’s famed Meyerhold Theatre Center, epic drumming from the Shanghainese \u003c/span>\u003ca href=\"http://www.sfiaf.org/gugu_drum_group\">\u003cspan style=\"font-weight: 400\">GuGu Drum Group\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003c/span>\u003ca href=\"http://www.sfiaf.org/abada_capoeira\">\u003cspan style=\"font-weight: 400\">ABADÁ Capoeira San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">’s high-spirited images of resistance fusing traditional and contemporary Brazilian music, dance and martial arts.\u003c/span>\u003c/p>\n\u003cp>Since its birth in 2003, SFIAF has championed overseas artists who were not yet well known in the U.S. — like British choreographer Akram Khan — and nurtured vital cross-cultural and genre-bending experiments. An important part of this effort is the festival’s strong focus on Asian voices during the second week of the event at Fort Mason. Here are four highlights.\u003c/p>\n\u003cp>\u003cb>\u003ci>In Visible Light\u003c/i>\u003c/b>\u003cb> by Gamelan Sekar Jaya\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13331822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13331822 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/GSJ-for-web-800x506.jpg\" alt=\"Gamelan Sekar Jaya in the world premiere of ‘In Visible Light’\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-520x329.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gamelan Sekar Jaya in the world premiere of ‘In Visible Light’ \u003ccite>((Photo: Courtesy San Francisco International Arts Festival))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the offerings is a world premiere from the Bay Area’s \u003ca href=\"http://www.sfiaf.org/gamelan_sekar_jaya\">Gamelan Sekar Jaya\u003c/a> under the direction of master Balinese musician I Dewa Putu Berata and dancer Emiko Saraswati Susilo, in collaboration with American shadow puppet master Larry Reed. Reed fuses traditional shadow puppetry techniques with modern theatrical animation to create live cinematic effects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This new work, titled \u003ca href=\"http://www.sfiaf.org/gamelan_sekar_jaya\">\u003ci>In Visible Light\u003c/i>\u003c/a>, deploys shadow puppets, dance, voice, and Balinese gamelan to tell the tale of a tyrant “whose arrogance,” program notes inform us, “poisons the rivers of knowledge, arts and culture, casting the world into chaos.” Fighting on the side of justice and enlightenment is Saraswati, goddess of arts, language and learning. The plot speaks broadly to the rise of authoritarianism – including the \u003ca href=\"http://www.aljazeera.com/indepth/opinion/2016/11/islam-politics-indonesia-identity-crisis-161121082414557.html\">seismic rumblings\u003c/a> in Indonesian politics from Islamist vigilantes who are threatening democratic institutions in the world’s largest Muslim country, long known for being a mostly secular, pluralist society.\u003c/p>\n\u003cp>\u003cb>Gu Jiani’s \u003c/b>\u003cb>\u003ci>Right and Left\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Light and shadow is also a vital component of Chinese contemporary choreographer Gu Jiani’s \u003c/span>\u003ca href=\"http://www.sfiaf.org/gu_jiani\">\u003ci>\u003cspan style=\"font-weight: 400\">Right and Left\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, a spellbinding meditation on the power dynamics of an intimate relationship. Gu’s silky, brooding interactions with partner Wang Xuanqi unfold to a soundtrack cobbled from fragments of electronica, Chopin, and the experimental acoustics of Dawn of Midi. Framed and manipulated by the eerie lighting effects of projectionist Ah Ping, the dance appears to comment on the erosion of trust in a relationship that is constantly under surveillance by shadowy figures.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"Right & Left\" by Gu Jiani and Li Nan' width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/BQQxPLDU1Ys?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gu belongs to a rare breed of independent choreographers in China, where the state overwhelmingly controls funding for the arts, and where the \u003c/span>\u003ca href=\"https://pen.org/advocacy-campaign/freedom-of-expression-in-china/\">\u003cspan style=\"font-weight: 400\">crackdown\u003c/span>\u003c/a> on freedom of expression has intensified since Xi Jinping assumed the presidency in 2013.\u003c/p>\n\u003cp>\u003cb>\u003ci>From the Top\u003c/i>\u003c/b>\u003cb> by Victor Fung\u003c/b>\u003c/p>\n\u003cp>The long arm of Chinese censorship reaches to Hong Kong – a territory whose freewheeling capitalist system has, in theory, been shielded from the mainland’s authoritarianism by the “one country, two systems” principle invoked at the 1997 handover from Britain. Notwithstanding this promise of autonomy, Beijing has increasingly imposed its authority over the territory, provoking \u003ca href=\"https://www.hongkongfp.com/2017/05/26/760-scholars-warn-permanent-damage-hong-kongs-reputation-occupy-prosecutions/\">mass protests\u003c/a>. Hong Kong artists like Victor Fung, however, enjoy freedoms and funding support unheard of on the mainland, while political frictions continue to fuel their creativity.\u003c/p>\n\u003cfigure id=\"attachment_13331821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13331821 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-800x534.jpg\" alt=\"Kenny Leung and Ronny Wong in Victor Fung’s ‘From the Top’\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kenny Leung and Ronny Wong in Victor Fung’s ‘From the Top’ \u003ccite>((Photo: Keith Hiro))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fung’s piece at the festival, \u003c/span>\u003ca href=\"http://www.sfiaf.org/victor_fung_dance_company\">\u003ci>\u003cspan style=\"font-weight: 400\">From the Top\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, takes a jab at the power politics of art. The work made a \u003c/span>\u003ca href=\"http://www.huffingtonpost.com/carla-escoda/12-hot-young-choreographe_b_6883318.html\">\u003cspan style=\"font-weight: 400\">splash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at its Hong Kong premiere two years ago. On the surface, it’s a hilarious romp about a pair of long-suffering dancers browbeaten by a pretentious choreographer. But \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">From the Top\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> also plays with the idea that meaning in art is often sabotaged by the artist’s ego. In the dark times, Fung suggests, you can’t always trust the artists. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Scarabe’s \u003c/b>\u003cb>\u003ci>Sell Our Body\u003c/i>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13331824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13331824 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-800x534.jpg\" alt=\"Scarabe in ‘Sell Our Body’\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scarabe in ‘Sell Our Body’ \u003ccite>((Photo: courtesy San Francisco International Arts Festival))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Japanese experimental dance troupe Scarabe tackles ego and the commodification of art in the latest incarnation of an ongoing project starkly titled \u003c/span>\u003ca href=\"http://www.sfiaf.org/scarabe\">\u003ci>\u003cspan style=\"font-weight: 400\">Sell Our Body\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. Earlier works under this title have enlisted duos, trios and casts of thousands in various site-specific settings. This version is danced by the three co-founders of the troupe. Izumi B Fujii, Yukio Miyahara and Mikiko Shinohara are alumni of the iconoclastic contemporary dance company Noism. Their work, the epitome of ‘Japanese cool,’ straddles various European dance traditions and the worlds of modern art, Japanese theater, performance art and fashion.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Japan recovers from the \u003c/span>\u003ca href=\"https://www.brookings.edu/opinions/japans-triple-disaster-governance-and-the-earthquake-tsunami-and-nuclear-crises/\">\u003cspan style=\"font-weight: 400\">Fukushima disaster\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, it grapples with serious environmental issues, aggravated threats from North Korea and China, a rapidly aging population and deeply rooted gender inequality. Young artists like those of Scarabe are at the forefront of exploding popular myths about a homogeneous and compliant Japanese society, often \u003c/span>\u003ca href=\"http://www.theasanforum.org/the-case-of-japan/\">\u003cspan style=\"font-weight: 400\">standing up\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to traditional power structures.\u003c/span>\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>\u003cspan style=\"font-weight: 400\">The 2017 San Francisco International Arts Festival runs from Wednesday, May 31 through Sunday, Jun 4. For tickets and more information click \u003c/span>\u003ca href=\"http://www.sfiaf.org\">\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year, in the face of increasing right-wing antipathy to ethnic diversity, the \u003ca href=\"http://www.sfiaf.org\">San Francisco International Arts Festival\u003c/a> has found its rallying cry in a line from German dramatist Bertolt Brecht: “In the dark times, will there also be singing?” \u003c/p>\n\u003cp>To that end, performing artists from 15 different countries join forces with American counterparts at this year’s festival in two busy weeks of music, dance, theater, and performance art. The flood of events includes \u003ca href=\"http://www.sfiaf.org/teatp_doc\">\u003ci>\u003cspan style=\"font-weight: 400\">One Day We Will All Be Happy\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, a darkly humorous play from Russia’s famed Meyerhold Theatre Center, epic drumming from the Shanghainese \u003c/span>\u003ca href=\"http://www.sfiaf.org/gugu_drum_group\">\u003cspan style=\"font-weight: 400\">GuGu Drum Group\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003c/span>\u003ca href=\"http://www.sfiaf.org/abada_capoeira\">\u003cspan style=\"font-weight: 400\">ABADÁ Capoeira San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">’s high-spirited images of resistance fusing traditional and contemporary Brazilian music, dance and martial arts.\u003c/span>\u003c/p>\n\u003cp>Since its birth in 2003, SFIAF has championed overseas artists who were not yet well known in the U.S. — like British choreographer Akram Khan — and nurtured vital cross-cultural and genre-bending experiments. An important part of this effort is the festival’s strong focus on Asian voices during the second week of the event at Fort Mason. Here are four highlights.\u003c/p>\n\u003cp>\u003cb>\u003ci>In Visible Light\u003c/i>\u003c/b>\u003cb> by Gamelan Sekar Jaya\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13331822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13331822 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/GSJ-for-web-800x506.jpg\" alt=\"Gamelan Sekar Jaya in the world premiere of ‘In Visible Light’\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web-520x329.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GSJ-for-web.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gamelan Sekar Jaya in the world premiere of ‘In Visible Light’ \u003ccite>((Photo: Courtesy San Francisco International Arts Festival))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the offerings is a world premiere from the Bay Area’s \u003ca href=\"http://www.sfiaf.org/gamelan_sekar_jaya\">Gamelan Sekar Jaya\u003c/a> under the direction of master Balinese musician I Dewa Putu Berata and dancer Emiko Saraswati Susilo, in collaboration with American shadow puppet master Larry Reed. Reed fuses traditional shadow puppetry techniques with modern theatrical animation to create live cinematic effects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This new work, titled \u003ca href=\"http://www.sfiaf.org/gamelan_sekar_jaya\">\u003ci>In Visible Light\u003c/i>\u003c/a>, deploys shadow puppets, dance, voice, and Balinese gamelan to tell the tale of a tyrant “whose arrogance,” program notes inform us, “poisons the rivers of knowledge, arts and culture, casting the world into chaos.” Fighting on the side of justice and enlightenment is Saraswati, goddess of arts, language and learning. The plot speaks broadly to the rise of authoritarianism – including the \u003ca href=\"http://www.aljazeera.com/indepth/opinion/2016/11/islam-politics-indonesia-identity-crisis-161121082414557.html\">seismic rumblings\u003c/a> in Indonesian politics from Islamist vigilantes who are threatening democratic institutions in the world’s largest Muslim country, long known for being a mostly secular, pluralist society.\u003c/p>\n\u003cp>\u003cb>Gu Jiani’s \u003c/b>\u003cb>\u003ci>Right and Left\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Light and shadow is also a vital component of Chinese contemporary choreographer Gu Jiani’s \u003c/span>\u003ca href=\"http://www.sfiaf.org/gu_jiani\">\u003ci>\u003cspan style=\"font-weight: 400\">Right and Left\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, a spellbinding meditation on the power dynamics of an intimate relationship. Gu’s silky, brooding interactions with partner Wang Xuanqi unfold to a soundtrack cobbled from fragments of electronica, Chopin, and the experimental acoustics of Dawn of Midi. Framed and manipulated by the eerie lighting effects of projectionist Ah Ping, the dance appears to comment on the erosion of trust in a relationship that is constantly under surveillance by shadowy figures.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"Right & Left\" by Gu Jiani and Li Nan' width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/BQQxPLDU1Ys?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gu belongs to a rare breed of independent choreographers in China, where the state overwhelmingly controls funding for the arts, and where the \u003c/span>\u003ca href=\"https://pen.org/advocacy-campaign/freedom-of-expression-in-china/\">\u003cspan style=\"font-weight: 400\">crackdown\u003c/span>\u003c/a> on freedom of expression has intensified since Xi Jinping assumed the presidency in 2013.\u003c/p>\n\u003cp>\u003cb>\u003ci>From the Top\u003c/i>\u003c/b>\u003cb> by Victor Fung\u003c/b>\u003c/p>\n\u003cp>The long arm of Chinese censorship reaches to Hong Kong – a territory whose freewheeling capitalist system has, in theory, been shielded from the mainland’s authoritarianism by the “one country, two systems” principle invoked at the 1997 handover from Britain. Notwithstanding this promise of autonomy, Beijing has increasingly imposed its authority over the territory, provoking \u003ca href=\"https://www.hongkongfp.com/2017/05/26/760-scholars-warn-permanent-damage-hong-kongs-reputation-occupy-prosecutions/\">mass protests\u003c/a>. Hong Kong artists like Victor Fung, however, enjoy freedoms and funding support unheard of on the mainland, while political frictions continue to fuel their creativity.\u003c/p>\n\u003cfigure id=\"attachment_13331821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13331821 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-800x534.jpg\" alt=\"Kenny Leung and Ronny Wong in Victor Fung’s ‘From the Top’\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/From-the-Top-4-by-Keith-Hiro-for-print.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kenny Leung and Ronny Wong in Victor Fung’s ‘From the Top’ \u003ccite>((Photo: Keith Hiro))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fung’s piece at the festival, \u003c/span>\u003ca href=\"http://www.sfiaf.org/victor_fung_dance_company\">\u003ci>\u003cspan style=\"font-weight: 400\">From the Top\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, takes a jab at the power politics of art. The work made a \u003c/span>\u003ca href=\"http://www.huffingtonpost.com/carla-escoda/12-hot-young-choreographe_b_6883318.html\">\u003cspan style=\"font-weight: 400\">splash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at its Hong Kong premiere two years ago. On the surface, it’s a hilarious romp about a pair of long-suffering dancers browbeaten by a pretentious choreographer. But \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">From the Top\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> also plays with the idea that meaning in art is often sabotaged by the artist’s ego. In the dark times, Fung suggests, you can’t always trust the artists. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Scarabe’s \u003c/b>\u003cb>\u003ci>Sell Our Body\u003c/i>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13331824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13331824 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-800x534.jpg\" alt=\"Scarabe in ‘Sell Our Body’\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Scarabe-Photo-6.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scarabe in ‘Sell Our Body’ \u003ccite>((Photo: courtesy San Francisco International Arts Festival))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Japanese experimental dance troupe Scarabe tackles ego and the commodification of art in the latest incarnation of an ongoing project starkly titled \u003c/span>\u003ca href=\"http://www.sfiaf.org/scarabe\">\u003ci>\u003cspan style=\"font-weight: 400\">Sell Our Body\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. Earlier works under this title have enlisted duos, trios and casts of thousands in various site-specific settings. This version is danced by the three co-founders of the troupe. Izumi B Fujii, Yukio Miyahara and Mikiko Shinohara are alumni of the iconoclastic contemporary dance company Noism. Their work, the epitome of ‘Japanese cool,’ straddles various European dance traditions and the worlds of modern art, Japanese theater, performance art and fashion.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Japan recovers from the \u003c/span>\u003ca href=\"https://www.brookings.edu/opinions/japans-triple-disaster-governance-and-the-earthquake-tsunami-and-nuclear-crises/\">\u003cspan style=\"font-weight: 400\">Fukushima disaster\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, it grapples with serious environmental issues, aggravated threats from North Korea and China, a rapidly aging population and deeply rooted gender inequality. Young artists like those of Scarabe are at the forefront of exploding popular myths about a homogeneous and compliant Japanese society, often \u003c/span>\u003ca href=\"http://www.theasanforum.org/the-case-of-japan/\">\u003cspan style=\"font-weight: 400\">standing up\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to traditional power structures.\u003c/span>\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>\u003cspan style=\"font-weight: 400\">The 2017 San Francisco International Arts Festival runs from Wednesday, May 31 through Sunday, Jun 4. For tickets and more information click \u003c/span>\u003ca href=\"http://www.sfiaf.org\">\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of 'Sgt. Peppers'",
"headTitle": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of ‘Sgt. Peppers’ | KQED",
"content": "\u003cp>\u003cstrong>Correction: The tribute to ‘Sgt. Peppers’ now takes place one night only, on Saturday, June 3. (Not Thursday and Friday as stated.) \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Festival season is heating up, with an upcoming deluge of bands playing in the hot sun for thousands of dehydrated teenagers; Cy gets back next week and he’ll give us the rundown. Meanwhile, we’ve got a couple comedy festivals in this week’s show: \u003ca href=\"https://www.clusterfest.com/?utm_source=ASG-AdWords&utm_medium=Search&utm_term=General&utm_content=Branded&utm_campaign=Clusterfest\" target=\"_blank\" rel=\"noopener\">Comedy Clusterfest\u003c/a>, running June 2–4 at the Civic Center, and Chris Hardwick’s \u003ca href=\"https://www.facebook.com/id10tfest/\" target=\"_blank\" rel=\"noopener\">IdIOtfest\u003c/a> running June 24 and 25 at the Shoreline Amphitheater. Also, a quick mention for an exhibit of work from the late San Francisco artist Rex Ray, which runs through June 30 at Gallery 16; \u003ca href=\"https://www.gallery16.com/rex-ray-we-are-all-made-of-light\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ux5ogOeD3Uc\u003c/p>\n\u003cp>\u003cstrong>May 28\u003c/strong>: Before he basically won the World Series for the Giants in 2012 and finally earned his obscenely high salary, Barry Zito was used to being booed. Like, for years. Which is why, when the pitcher retired from the game, he said it had helped him “develop the thick skin” he’d need for songwriting, and added: “If you hear a song of mine, I hope you’ll be honest about what you think.” Well, Barry, honestly, it’s not bad at all. The lefty takes the stage with his guitar for his homespun songs — and maybe a few curveballs — on May 28; \u003ca href=\"http://www.slimspresents.com/event/an-evening-with-barry-zito-gamh/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg\" alt=\"Rachel Schutz, who plays Elisabeth in 'Les Enfants Terribles' for Opera Parallele.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut.jpg 1391w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Schutz, who plays Elisabeth in ‘Les Enfants Terribles’ for Opera Parallele. \u003ccite>(Opera Parallele)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 26–28\u003c/strong>: Opera Parallele presents a new production of Philip Glass’ \u003cstrong>\u003cem>Les Enfants Terribles\u003c/em>\u003c/strong>, hot on the heels of Glass’ 80th birthday. This is a company that presents contemporary opera that doesn’t often get performed — they brought us Terence Blanchard’s ‘Champion’ last year, and recently Jake Heggie’s ‘Dead Man Walking.’ \u003cem>Les Enfants Terribles\u003c/em> is from 1996, and though this production has a multidimensional film aspect to the set design, it keeps the original accompaniment of just three pianos — ‘cause that’s \u003cem>so\u003c/em> Philip Glass. \u003cem>Les Enfants Terribles\u003c/em> is at the San Francisco Conservatory of Music; \u003ca href=\"https://operaparallele.org/les-enfants-terribles/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mina-800x500.jpg\" alt=\"Mina Momeni.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mina Momeni.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2–3\u003c/strong>: It was 50 years ago that \u003cem>\u003cstrong>Sgt. Pepper’s Lonely Hearts Club Band\u003c/strong>\u003c/em> was released, and to mark the milestone, Undercover Presents hosts two nights of the entire album played front-to-band, wildly reimagined by 15 different bands. As an example: the vocalist for “When I’m Sixty Four” is Mina Momeni (above), from Tehran — who, since women in Iran are forbidden from pursuing singing careers due to religious restrictions, will be singing through a pre-recorded track accompanied by a string quartet from the Awesöme Orchestra Collective. I spoke with Musical Director Joe Bagale about his drastic reinterpretations — including jazz, hip-hop, Indiana ragas and more — and he told me there was one famous moment on the album he didn’t want to mess with: the long, final piano chord, which lasts for almost 45 seconds. “I tried strings, and I tried a synthesizer treatment,” he told me, “but in the end, I couldn’t do anything better than a bunch of pianos.” \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details on the shows here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13113829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg\" alt=\"Henry Dreyfuss and James Conner, 'The Swinger,' Land Camera Model 20 for Polaroid, 1965.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13113829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dreyfuss and James Conner, ‘The Swinger,’ Land Camera Model 20 for Polaroid, 1965. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Aug. 21\u003c/strong>: In the South Bay, there’s an interesting exhibit at the Cantor Arts Center called \u003cem>\u003cstrong>Creativity on the Line: Design for the Corporate World\u003c/strong>\u003c/em>. And if you’re a fan of mid-century modern, it’ll make you look at things like airport seating and classroom furniture in a whole different way. Focusing on products and pamphlets, it includes designers such as Paul Rand, Charles and Ray Eames, and Dieter Rams. As explored in \u003ca href=\"https://ww2.kqed.org/arts/2017/04/26/creativity-on-the-line-mines-the-cracks-in-sleek-mid-century-surfaces/\">KQED Arts’ review by Sarah Hotchkiss\u003c/a>, the show really gets to the tense relationship between corporations and artists, where designers were told to be creative but not \u003cem>too\u003c/em> creative. In Silicon Valley, where we know Apple’s design was heavily influenced by Dieter Rams, it has an extra resonance. \u003ca href=\"http://events.stanford.edu/events/646/64601/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P465Y7M0YjQ\u003c/p>\n\u003cp>\u003cstrong>May 31–June 25\u003c/strong>: A new play premieres this week, centered around a meeting between a young journalist and the brilliant musician Gil Scott-Heron. \u003cem>\u003cstrong>Grandeur\u003c/strong>\u003c/em> is a world premiere from the Magic Theatre, the work of playwright Han Ong. It’s hard to think of Gil Scott Heron without thinking of \u003ca href=\"http://www.newyorker.com/magazine/2010/08/09/new-york-is-killing-me\" target=\"_blank\" rel=\"noopener\">this heartbreaking \u003cem>New Yorker\u003c/em> profile on him in 2010\u003c/a>, so a play about his relationship with journalists has plenty to draw upon. I \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">saw Gil Scott-Heron\u003c/a> at his last appearance in San Francisco, and \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">he was remarkably good\u003c/a> — and with a huge adoring crowd, so there should be plenty of interest in this play. It’s directed by the Magic’s Artistic Director Loretta Greco, and has a cast led by the great Carl Lumbly. \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>\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": "This week's picks for The Do List include Barry Zito (singing!), Philip Glass’ 'Les Enfants Terribles,' a Beatles Tribute, a world-premiere play about Gil Scott-Heron and more.",
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"description": "This week's picks for The Do List include Barry Zito (singing!), Philip Glass’ 'Les Enfants Terribles,' a Beatles Tribute, a world-premiere play about Gil Scott-Heron and more.",
"title": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of 'Sgt. Peppers' | KQED",
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"headline": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of 'Sgt. Peppers'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Correction: The tribute to ‘Sgt. Peppers’ now takes place one night only, on Saturday, June 3. (Not Thursday and Friday as stated.) \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Festival season is heating up, with an upcoming deluge of bands playing in the hot sun for thousands of dehydrated teenagers; Cy gets back next week and he’ll give us the rundown. Meanwhile, we’ve got a couple comedy festivals in this week’s show: \u003ca href=\"https://www.clusterfest.com/?utm_source=ASG-AdWords&utm_medium=Search&utm_term=General&utm_content=Branded&utm_campaign=Clusterfest\" target=\"_blank\" rel=\"noopener\">Comedy Clusterfest\u003c/a>, running June 2–4 at the Civic Center, and Chris Hardwick’s \u003ca href=\"https://www.facebook.com/id10tfest/\" target=\"_blank\" rel=\"noopener\">IdIOtfest\u003c/a> running June 24 and 25 at the Shoreline Amphitheater. Also, a quick mention for an exhibit of work from the late San Francisco artist Rex Ray, which runs through June 30 at Gallery 16; \u003ca href=\"https://www.gallery16.com/rex-ray-we-are-all-made-of-light\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And 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/Ux5ogOeD3Uc'\n title='//www.youtube.com/embed/Ux5ogOeD3Uc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 28\u003c/strong>: Before he basically won the World Series for the Giants in 2012 and finally earned his obscenely high salary, Barry Zito was used to being booed. Like, for years. Which is why, when the pitcher retired from the game, he said it had helped him “develop the thick skin” he’d need for songwriting, and added: “If you hear a song of mine, I hope you’ll be honest about what you think.” Well, Barry, honestly, it’s not bad at all. The lefty takes the stage with his guitar for his homespun songs — and maybe a few curveballs — on May 28; \u003ca href=\"http://www.slimspresents.com/event/an-evening-with-barry-zito-gamh/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg\" alt=\"Rachel Schutz, who plays Elisabeth in 'Les Enfants Terribles' for Opera Parallele.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut.jpg 1391w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Schutz, who plays Elisabeth in ‘Les Enfants Terribles’ for Opera Parallele. \u003ccite>(Opera Parallele)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 26–28\u003c/strong>: Opera Parallele presents a new production of Philip Glass’ \u003cstrong>\u003cem>Les Enfants Terribles\u003c/em>\u003c/strong>, hot on the heels of Glass’ 80th birthday. This is a company that presents contemporary opera that doesn’t often get performed — they brought us Terence Blanchard’s ‘Champion’ last year, and recently Jake Heggie’s ‘Dead Man Walking.’ \u003cem>Les Enfants Terribles\u003c/em> is from 1996, and though this production has a multidimensional film aspect to the set design, it keeps the original accompaniment of just three pianos — ‘cause that’s \u003cem>so\u003c/em> Philip Glass. \u003cem>Les Enfants Terribles\u003c/em> is at the San Francisco Conservatory of Music; \u003ca href=\"https://operaparallele.org/les-enfants-terribles/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mina-800x500.jpg\" alt=\"Mina Momeni.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mina Momeni.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2–3\u003c/strong>: It was 50 years ago that \u003cem>\u003cstrong>Sgt. Pepper’s Lonely Hearts Club Band\u003c/strong>\u003c/em> was released, and to mark the milestone, Undercover Presents hosts two nights of the entire album played front-to-band, wildly reimagined by 15 different bands. As an example: the vocalist for “When I’m Sixty Four” is Mina Momeni (above), from Tehran — who, since women in Iran are forbidden from pursuing singing careers due to religious restrictions, will be singing through a pre-recorded track accompanied by a string quartet from the Awesöme Orchestra Collective. I spoke with Musical Director Joe Bagale about his drastic reinterpretations — including jazz, hip-hop, Indiana ragas and more — and he told me there was one famous moment on the album he didn’t want to mess with: the long, final piano chord, which lasts for almost 45 seconds. “I tried strings, and I tried a synthesizer treatment,” he told me, “but in the end, I couldn’t do anything better than a bunch of pianos.” \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details on the shows here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13113829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg\" alt=\"Henry Dreyfuss and James Conner, 'The Swinger,' Land Camera Model 20 for Polaroid, 1965.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13113829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dreyfuss and James Conner, ‘The Swinger,’ Land Camera Model 20 for Polaroid, 1965. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Aug. 21\u003c/strong>: In the South Bay, there’s an interesting exhibit at the Cantor Arts Center called \u003cem>\u003cstrong>Creativity on the Line: Design for the Corporate World\u003c/strong>\u003c/em>. And if you’re a fan of mid-century modern, it’ll make you look at things like airport seating and classroom furniture in a whole different way. Focusing on products and pamphlets, it includes designers such as Paul Rand, Charles and Ray Eames, and Dieter Rams. As explored in \u003ca href=\"https://ww2.kqed.org/arts/2017/04/26/creativity-on-the-line-mines-the-cracks-in-sleek-mid-century-surfaces/\">KQED Arts’ review by Sarah Hotchkiss\u003c/a>, the show really gets to the tense relationship between corporations and artists, where designers were told to be creative but not \u003cem>too\u003c/em> creative. In Silicon Valley, where we know Apple’s design was heavily influenced by Dieter Rams, it has an extra resonance. \u003ca href=\"http://events.stanford.edu/events/646/64601/\" target=\"_blank\" rel=\"noopener\">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/P465Y7M0YjQ'\n title='//www.youtube.com/embed/P465Y7M0YjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 31–June 25\u003c/strong>: A new play premieres this week, centered around a meeting between a young journalist and the brilliant musician Gil Scott-Heron. \u003cem>\u003cstrong>Grandeur\u003c/strong>\u003c/em> is a world premiere from the Magic Theatre, the work of playwright Han Ong. It’s hard to think of Gil Scott Heron without thinking of \u003ca href=\"http://www.newyorker.com/magazine/2010/08/09/new-york-is-killing-me\" target=\"_blank\" rel=\"noopener\">this heartbreaking \u003cem>New Yorker\u003c/em> profile on him in 2010\u003c/a>, so a play about his relationship with journalists has plenty to draw upon. I \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">saw Gil Scott-Heron\u003c/a> at his last appearance in San Francisco, and \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">he was remarkably good\u003c/a> — and with a huge adoring crowd, so there should be plenty of interest in this play. It’s directed by the Magic’s Artistic Director Loretta Greco, and has a cast led by the great Carl Lumbly. \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>\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\u003c/div>\u003c/p>",
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"title": "'Monsoon Wedding' Musical Makes You Want an Arranged Marriage",
"headTitle": "‘Monsoon Wedding’ Musical Makes You Want an Arranged Marriage | KQED",
"content": "\u003cp>Mira Nair’s musical theater adaption of her much-loved film, \u003ca href=\"https://www.berkeleyrep.org/season/1617/10662.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Monsoon Wedding\u003c/em>\u003c/a>, is a headlong dash to the siren call of fun — and then strangely, and rather beautifully, a rueful reflection on its costs.\u003c/p>\n\u003cp>That such delightful froth should achieve a striking level of philosophical depth is kind of amazing, especially as it does so by haphazardly dashing its way through the lives of a party’s worth of characters. This is a wedding tale that understands that marriage is not just the union of two people, but also a clash of civilizations, a covert war that scars with equal parts care, beauty, and betrayal.\u003c/p>\n\u003cp>To begin with, the battlefield is complex, full of double agents and counter-insurgencies. Lalit and Pimmi Verma have negotiated a favorable marriage for their daughter Aditi: Hemant Rai, the son of an American-Indian family of some distinction, who is successful, handsome, and taken with the idea of an arranged marriage. He sees it as a kind of go-for-broke embrace of tradition. Little does Hermant know that Aditi, the angelic centerpiece of his infatuation with the old ways, is engaged in a torrid affair with her married boss, a sleazy television anchor with some rather impractical ideas of transcontinental cheating.\u003c/p>\n\u003cfigure id=\"attachment_13285881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg\" alt=\"The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Add the visiting Rai family, the Vermas’ younger daughter and son, their niece, Ria, whom they’ve raised as one of their own, a slew of relatives both nasty and kind, and a wedding planner, Dubey, who eventually falls in love with Alice, the family housekeeper, and you’ve got yourself quite a happening. One might say that Lalit is not only the father of the bride, but also the father of chaos as well. He’s a minor-league Prospero trying to work a little magic to secure his daughter’s happiness.\u003c/p>\n\u003cp>The first scene in Berkeley Repertory Theatre’s world-premiere production lays out all the characters in a rather perfunctory way. But after that, Nair and Sabrina Dhawan, adapting the musical’s book from her original screenplay, give us scene after scene in which the Verma family’s sense of fun masks the out-and-out conflict. And their commitment to fun is absolute and transformative.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”BRtDkY8Pno8MQyJDlgPYrmP0t1j0S8pb”]\u003c/p>\n\u003cp>When Ria warns Aditi that an extramarital affair isn’t the best way to start off an arranged marriage, or indeed any marriage at all, Aditi uncharitably snaps back that Ria is single and 30. Undaunted, Ria presses on, giving a frank assessment of her cousin’s moral and emotional failings. Without ever resolving their argument or apologizing in any way, the two young women slip into a delightful song and dance routine. As the music explodes out of the drama, their anger dissipates into the sheer pleasure of performance, revealing a love that is as tempered as it is unconditional.\u003c/p>\n\u003cp>And so, over and over, Nair demonstrates how familial love takes conflict and turns it into a raucous good time. When the soon-to-be-married and barely acquainted Aditi and Hemant get caught in a too-public argument, both families — including the grandmothers — sing the young couple a jazzy tune about the difficulties of marriage. The older generation’s nutty serenade is embarrassing; it’s the kind of public disaster all children wish to avoid. But it’s also gracious and kind — wisdom’s gift to the young.\u003c/p>\n\u003cfigure id=\"attachment_13285883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg\" alt=\"The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair's musical theater adaption of her hit film, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair’s musical theater adaption of her hit film, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirroring all this wedding satire is the romance of the wedding planner and the family servant. Instead of the elaborate rituals of the arranged marriage, these two characters are left to their own devices. There is nothing to bring them together and so it feels that they can more easily be with each other. Yet, if Nair suggests that the moneyed Aditi and Hemant are caught in a daze of complex and confusing social expectations, the lack of expectations can be just as daunting.\u003c/p>\n\u003cp>When Dubay discovers that Alice is a Christian and will not convert, he renounces her. Nair and Dhawan might be following a simple boy-meets-girl, boy-loses-girl, boy-gets-girl script, but the loses-girl part comes off as rough and real. What Nair makes you understand is that none of this joy comes for free, that there is no escaping our differences, and that we will always be in conflict. It’s a bracing vision of the complexity of being alive to other people.\u003c/p>\n\u003cp>Nair’s execution of that vision isn’t perfect. Throughout the evening, you can feel the director struggling to stay the course. There are lapses: the first act drags towards the end, and the first couple of scenes of the second are flat. At times, Nair and her collaborators try to do too much. The full chorus reenactment of the partitioning of India and Pakistan is cumbersome and theme-driven. And the more traditional aspects of the Broadway musical feel tacked on, unnecessary to the realization of Nair’s more loose-leafed aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13285885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg\" alt=\"It's a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair's musical theater adaption of her hit movie, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair’s musical theater adaption of her hit movie, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, what you remember is a unique and stunning statement of joy, an embrace of the moment when these characters, in big and small ways, let it go and just take on the reckless abandon of fun. When you realize that this can only happen with the love of family, abandoning their own interests for those who’ve been entrusted to their care, you’ll never listen to a father and a mother, a brother and a sister, or an uncle and a niece sing together in quite the same way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Monsoon Wedding’ runs through Sunday, July 9, at Berkeley Repertory Theatre. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>And for an in-depth look at the detail and design of the show from the Center for Asian American Media, \u003ca href=\"https://www.youtube.com/watch?v=BIEJONYNrso\" target=\"_blank\" rel=\"noopener noreferrer\">watch their short video here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "Berkeley Repertory Theatre's new stage adaption of Mira Nair's film is a headlong dash to the siren call of fun. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mira Nair’s musical theater adaption of her much-loved film, \u003ca href=\"https://www.berkeleyrep.org/season/1617/10662.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Monsoon Wedding\u003c/em>\u003c/a>, is a headlong dash to the siren call of fun — and then strangely, and rather beautifully, a rueful reflection on its costs.\u003c/p>\n\u003cp>That such delightful froth should achieve a striking level of philosophical depth is kind of amazing, especially as it does so by haphazardly dashing its way through the lives of a party’s worth of characters. This is a wedding tale that understands that marriage is not just the union of two people, but also a clash of civilizations, a covert war that scars with equal parts care, beauty, and betrayal.\u003c/p>\n\u003cp>To begin with, the battlefield is complex, full of double agents and counter-insurgencies. Lalit and Pimmi Verma have negotiated a favorable marriage for their daughter Aditi: Hemant Rai, the son of an American-Indian family of some distinction, who is successful, handsome, and taken with the idea of an arranged marriage. He sees it as a kind of go-for-broke embrace of tradition. Little does Hermant know that Aditi, the angelic centerpiece of his infatuation with the old ways, is engaged in a torrid affair with her married boss, a sleazy television anchor with some rather impractical ideas of transcontinental cheating.\u003c/p>\n\u003cfigure id=\"attachment_13285881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg\" alt=\"The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Add the visiting Rai family, the Vermas’ younger daughter and son, their niece, Ria, whom they’ve raised as one of their own, a slew of relatives both nasty and kind, and a wedding planner, Dubey, who eventually falls in love with Alice, the family housekeeper, and you’ve got yourself quite a happening. One might say that Lalit is not only the father of the bride, but also the father of chaos as well. He’s a minor-league Prospero trying to work a little magic to secure his daughter’s happiness.\u003c/p>\n\u003cp>The first scene in Berkeley Repertory Theatre’s world-premiere production lays out all the characters in a rather perfunctory way. But after that, Nair and Sabrina Dhawan, adapting the musical’s book from her original screenplay, give us scene after scene in which the Verma family’s sense of fun masks the out-and-out conflict. And their commitment to fun is absolute and transformative.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When Ria warns Aditi that an extramarital affair isn’t the best way to start off an arranged marriage, or indeed any marriage at all, Aditi uncharitably snaps back that Ria is single and 30. Undaunted, Ria presses on, giving a frank assessment of her cousin’s moral and emotional failings. Without ever resolving their argument or apologizing in any way, the two young women slip into a delightful song and dance routine. As the music explodes out of the drama, their anger dissipates into the sheer pleasure of performance, revealing a love that is as tempered as it is unconditional.\u003c/p>\n\u003cp>And so, over and over, Nair demonstrates how familial love takes conflict and turns it into a raucous good time. When the soon-to-be-married and barely acquainted Aditi and Hemant get caught in a too-public argument, both families — including the grandmothers — sing the young couple a jazzy tune about the difficulties of marriage. The older generation’s nutty serenade is embarrassing; it’s the kind of public disaster all children wish to avoid. But it’s also gracious and kind — wisdom’s gift to the young.\u003c/p>\n\u003cfigure id=\"attachment_13285883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg\" alt=\"The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair's musical theater adaption of her hit film, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair’s musical theater adaption of her hit film, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirroring all this wedding satire is the romance of the wedding planner and the family servant. Instead of the elaborate rituals of the arranged marriage, these two characters are left to their own devices. There is nothing to bring them together and so it feels that they can more easily be with each other. Yet, if Nair suggests that the moneyed Aditi and Hemant are caught in a daze of complex and confusing social expectations, the lack of expectations can be just as daunting.\u003c/p>\n\u003cp>When Dubay discovers that Alice is a Christian and will not convert, he renounces her. Nair and Dhawan might be following a simple boy-meets-girl, boy-loses-girl, boy-gets-girl script, but the loses-girl part comes off as rough and real. What Nair makes you understand is that none of this joy comes for free, that there is no escaping our differences, and that we will always be in conflict. It’s a bracing vision of the complexity of being alive to other people.\u003c/p>\n\u003cp>Nair’s execution of that vision isn’t perfect. Throughout the evening, you can feel the director struggling to stay the course. There are lapses: the first act drags towards the end, and the first couple of scenes of the second are flat. At times, Nair and her collaborators try to do too much. The full chorus reenactment of the partitioning of India and Pakistan is cumbersome and theme-driven. And the more traditional aspects of the Broadway musical feel tacked on, unnecessary to the realization of Nair’s more loose-leafed aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13285885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg\" alt=\"It's a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair's musical theater adaption of her hit movie, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair’s musical theater adaption of her hit movie, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, what you remember is a unique and stunning statement of joy, an embrace of the moment when these characters, in big and small ways, let it go and just take on the reckless abandon of fun. When you realize that this can only happen with the love of family, abandoning their own interests for those who’ve been entrusted to their care, you’ll never listen to a father and a mother, a brother and a sister, or an uncle and a niece sing together in quite the same way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Monsoon Wedding’ runs through Sunday, July 9, at Berkeley Repertory Theatre. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org\">click here\u003c/a>.\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>And for an in-depth look at the detail and design of the show from the Center for Asian American Media, \u003ca href=\"https://www.youtube.com/watch?v=BIEJONYNrso\" target=\"_blank\" rel=\"noopener noreferrer\">watch their short video here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the early 1920s, before he became an icon of the American songbook, composer \u003ca href=\"http://www.npr.org/artists/103165585/cole-porter\" target=\"_blank\" rel=\"noopener\">Cole Porter\u003c/a> wrote the score for a protest ballet. The production, called \u003cem>Within the Quota\u003c/em>, criticized restrictive immigration laws that had been passed by Congress. According to Princeton music professor Simon Morrison, who rediscovered the score two years ago in Yale’s Porter archives, the show opened in New York at a time of fearful backlash against Polish, Greek and Australian immigrants arriving in the U.S. after World War I.\u003c/p>\n\u003cp>Now, to protest President Trump’s anti-immigrant stance, the \u003ca href=\"http://www.princetonuniversityballet.com/\" target=\"_blank\" rel=\"noopener\">Princeton University Ballet\u003c/a> is reviving the production. Morrison, who produced the show, says after the election, “[I] looked again at the score and thought about its context and thought, \u003cem>Oh my God, this is actually what it was about. These things were real and actually we’re feeling them again now\u003c/em>.”\u003c/p>\n\u003cp>The updated ballet emphasizes the parallels between the political climate of the 1920s and that of 2017. “To my mind, the issues are frightfully the same,” Morrison says. He explains that in both eras, anti-immigrant hostility was rooted in “fear about people losing their jobs, fear about American culture being diluted.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/books/98/11/29/specials/porter-ballet.html\" target=\"_blank\" rel=\"noopener\">According to The New York Times\u003c/a>, the 1920s production of \u003cem>Within the Quota\u003c/em> was the first American-themed ballet set to music by an American composer.\u003cstrong> \u003c/strong>At the time, Porter was based in Paris and relatively unknown in the U.S. “He was not even established in New York,” Morrison says.\u003c/p>\n\u003cp>The original production tells the story, in dance, of a newly arrived immigrant who meets various American characters — an heiress, a movie star, a “jazz baby,” a cowboy — as well as dark forces who want to kick immigrants out of the country.\u003c/p>\n\u003cfigure id=\"attachment_13297483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg\" alt=\"Student Julia Jansen choreographed the Princeton production of 'Within the Quota' and also performs in it.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13297483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Julia Jansen choreographed the Princeton production of ‘Within the Quota’ and also performs in it. \u003ccite>(Deb Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Princeton revival, which was choreographed by student Julia Jansen, updates the characters to include an heiress who suggests Ivanka Trump and a Lady Liberty dancer who takes selfies. The set is also an update of the 1923 production, which included large posters of newspaper headlines; instead of posters, the revival projects satirical political headlines onto the back of the stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s finale, a number called “Sweatheart of the World,” hints at the signature style Porter became famous for decades later. “The musical language is 100 percent Cole Porter,” Morrison says. “If you added lyrics and put it in a smoky bar somewhere, it would sound 100 percent ‘\u003ca href=\"https://www.youtube.com/watch?v=MoAigRL0oU0\">Night and Day\u003c/a>‘ Cole Porter.”\u003c/p>\n\u003cp>The London-based orchestra Penguin Café performed the music — Porter’s only score for ballet — at the Princeton debut. Daren Berry, who plays percussion, violin and ukulele, says, “It’s an incredible piece of work. … It’s not designed to be listened to; it’s designed to be watched.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this month, there was a packed house for the show’s opening night\u003cem>.\u003c/em> Producer Simon Morrison says \u003cem>Within the Quota\u003c/em> will eventually tour the country, as it did in the 1920s. “This work, which was nothing but a bunch of yellow manuscript paper, is back and is very, very relevant,” Morrison says. “I think there’s something really magical in that.” \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=Cole+Porter%27s+Pro-Immigration+Ballet+Gets+A+Trump-Era+Revival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1920s, before he became an icon of the American songbook, composer \u003ca href=\"http://www.npr.org/artists/103165585/cole-porter\" target=\"_blank\" rel=\"noopener\">Cole Porter\u003c/a> wrote the score for a protest ballet. The production, called \u003cem>Within the Quota\u003c/em>, criticized restrictive immigration laws that had been passed by Congress. According to Princeton music professor Simon Morrison, who rediscovered the score two years ago in Yale’s Porter archives, the show opened in New York at a time of fearful backlash against Polish, Greek and Australian immigrants arriving in the U.S. after World War I.\u003c/p>\n\u003cp>Now, to protest President Trump’s anti-immigrant stance, the \u003ca href=\"http://www.princetonuniversityballet.com/\" target=\"_blank\" rel=\"noopener\">Princeton University Ballet\u003c/a> is reviving the production. Morrison, who produced the show, says after the election, “[I] looked again at the score and thought about its context and thought, \u003cem>Oh my God, this is actually what it was about. These things were real and actually we’re feeling them again now\u003c/em>.”\u003c/p>\n\u003cp>The updated ballet emphasizes the parallels between the political climate of the 1920s and that of 2017. “To my mind, the issues are frightfully the same,” Morrison says. He explains that in both eras, anti-immigrant hostility was rooted in “fear about people losing their jobs, fear about American culture being diluted.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/books/98/11/29/specials/porter-ballet.html\" target=\"_blank\" rel=\"noopener\">According to The New York Times\u003c/a>, the 1920s production of \u003cem>Within the Quota\u003c/em> was the first American-themed ballet set to music by an American composer.\u003cstrong> \u003c/strong>At the time, Porter was based in Paris and relatively unknown in the U.S. “He was not even established in New York,” Morrison says.\u003c/p>\n\u003cp>The original production tells the story, in dance, of a newly arrived immigrant who meets various American characters — an heiress, a movie star, a “jazz baby,” a cowboy — as well as dark forces who want to kick immigrants out of the country.\u003c/p>\n\u003cfigure id=\"attachment_13297483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg\" alt=\"Student Julia Jansen choreographed the Princeton production of 'Within the Quota' and also performs in it.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13297483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Julia Jansen choreographed the Princeton production of ‘Within the Quota’ and also performs in it. \u003ccite>(Deb Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Princeton revival, which was choreographed by student Julia Jansen, updates the characters to include an heiress who suggests Ivanka Trump and a Lady Liberty dancer who takes selfies. The set is also an update of the 1923 production, which included large posters of newspaper headlines; instead of posters, the revival projects satirical political headlines onto the back of the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s finale, a number called “Sweatheart of the World,” hints at the signature style Porter became famous for decades later. “The musical language is 100 percent Cole Porter,” Morrison says. “If you added lyrics and put it in a smoky bar somewhere, it would sound 100 percent ‘\u003ca href=\"https://www.youtube.com/watch?v=MoAigRL0oU0\">Night and Day\u003c/a>‘ Cole Porter.”\u003c/p>\n\u003cp>The London-based orchestra Penguin Café performed the music — Porter’s only score for ballet — at the Princeton debut. Daren Berry, who plays percussion, violin and ukulele, says, “It’s an incredible piece of work. … It’s not designed to be listened to; it’s designed to be watched.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this month, there was a packed house for the show’s opening night\u003cem>.\u003c/em> Producer Simon Morrison says \u003cem>Within the Quota\u003c/em> will eventually tour the country, as it did in the 1920s. “This work, which was nothing but a bunch of yellow manuscript paper, is back and is very, very relevant,” Morrison says. “I think there’s something really magical in that.” \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=Cole+Porter%27s+Pro-Immigration+Ballet+Gets+A+Trump-Era+Revival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Rotimi Agbabiaka first discovered the theater playing in his mother’s closet in Lagos, Nigeria, where he grew up. With each new outfit he tried on, “the possibility I could be anything or anyone was opened to me,” says Agbabiaka, a veteran actor of productions at Cal Shakes, Marin Theatre Company, the San Francisco Mime Troupe, and Beach Blanket Babylon.\u003c/p>\n\u003cp>But after emigrating to the United States as a teenager and pursing an acting career, Agbabiaka encountered an American theater scene that didn’t recognize the same endless possibilities for him as a queer, black, immigrant man. In his hilarious one-man play \u003cem>Type/Caste\u003c/em>, Agbabiaka exposes the challenges he’s faced, reminding us that “our stories create demons, but our stories can also slay demons.”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Rotimi Agbabiaka performs at the \u003ca href=\"http://www.sfiaf.org/rotimi_agbabiaka\">San Francisco International Arts Festival\u003c/a> on June 2, 2017, at Fort Mason Chapel, and June 15 at the \u003c/i>\u003ca href=\"http://www.theflightdeck.org/\">Flight Deck\u003c/a> in Oakland.\u003c/p>\n\u003cp>\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Rotimi Agbabiaka first discovered the theater playing in his mother’s closet in Lagos, Nigeria, where he grew up. With each new outfit he tried on, “the possibility I could be anything or anyone was opened to me,” says Agbabiaka, a veteran actor of productions at Cal Shakes, Marin Theatre Company, the San Francisco Mime Troupe, and Beach Blanket Babylon.\u003c/p>\n\u003cp>But after emigrating to the United States as a teenager and pursing an acting career, Agbabiaka encountered an American theater scene that didn’t recognize the same endless possibilities for him as a queer, black, immigrant man. In his hilarious one-man play \u003cem>Type/Caste\u003c/em>, Agbabiaka exposes the challenges he’s faced, reminding us that “our stories create demons, but our stories can also slay demons.”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Rotimi Agbabiaka performs at the \u003ca href=\"http://www.sfiaf.org/rotimi_agbabiaka\">San Francisco International Arts Festival\u003c/a> on June 2, 2017, at Fort Mason Chapel, and June 15 at the \u003c/i>\u003ca href=\"http://www.theflightdeck.org/\">Flight Deck\u003c/a> in Oakland.\u003c/p>\n\u003cp>\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In 'The Events,' We Cannot Escape the Killer In Our Community",
"headTitle": "In ‘The Events,’ We Cannot Escape the Killer In Our Community | KQED",
"content": "\u003cp>By the end of David Greig’s \u003cem>The Events\u003c/em> under Susannah Martin’s superb direction for \u003ca href=\"https://shotgunplayers.org/Online/events\" target=\"_blank\" rel=\"noopener noreferrer\">Shotgun Players\u003c/a>, I wondered about just what kind of achievement I had witnessed. Some moments soared in odd and surprising ways, while others weren’t quite credible, though never to the detriment of what turned out to be a strange and special evening. In the age of President Donald Trump and an ascendant and revolutionary right, here was a full-throated liberal plea for a different world and most definitely a different theater.\u003c/p>\n\u003cfigure id=\"attachment_13235767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-800x456.jpg\" alt=\"Claire (Julia McNeal) gets ready to conduct in the Shotgun Player's production of 'The Events' by David Grieg.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire (Julia McNeal) gets ready to conduct in the Shotgun Player’s production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That the show begins with a song sung by a local community choir (apparently every performance features a different group) is the first of \u003cem>The Events’ \u003c/em>many beauties. At opening night, the \u003ca href=\"http://www.gallimaufrysings.org\">Gallimaufry Chamber Chorus \u003c/a>milled about, clutching their scores, and drinking coffee. I almost walked on stage to join them, thinking it was a pre-performance audience mixer. So even before \u003cem>The Events\u003c/em> begin we’re thrust into a disorienting realism.\u003c/p>\n\u003cp>When the choristers begin to sing, you can’t help but feel the church the Ashby Stage once was coming back to life. Without espousing or demanding belief, Greig reorders the theater-going experience. We aren’t just watching a play, but also taking on the roles of witness and congregant. It’s what will make the ripped-from-the-headlines tragedy of a young man’s mass shooting of an immigrant chorus bearable and worthy of our attention. There’s not one moment of the sensational.\u003c/p>\n\u003cp>And so the play doesn’t so much start but instead comes to life. We instantly become acutely aware of space and physical relations. Choir members tend to bunch together, and so we naturally notice who is outside the group, outside the sphere of music. Claire (Julia McNeal),\u003cb> \u003c/b>the parish priest who leads the choir, sits behind the singers listening with pride and appreciation, and a young man — called “the boy” in the play (Caleb Cabrera)\u003cb> \u003c/b>— stands in the shadows of the auditorium, just off stage.\u003c/p>\n\u003cfigure id=\"attachment_13235768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-800x458.jpg\" alt=\"The boy (Caleb Cabrera) begins in the shadows and then takes center stage in the Shotgun Players' production of 'The Events' by David Grieg.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-960x550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-520x298.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The boy (Caleb Cabrera) begins in the shadows and then takes center stage in the Shotgun Players’ production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is a wonderful geometry here: the guardian priest and the killer boy, both hovering on the edge of the community. In one of the play’s stinging ironies, it is Claire, playing the protector, who invites the killer into the sanctuary. And the actor who plays the boy plays everyone else in Claire’s life — her psychologist, her lover Catriona, the boy’s drunken father, a new age shaman she hires for a healing ceremony, a far-right politician — which twists the knot of pain even tighter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Claire, who has molded a group of disparate immigrants into a choir, now sees her killer in every single person she encounters. The playwright insists against all our instincts of justice that we are somehow the same, one single entity. To banish the killer from our lives is to banish the most complex and human part of our souls.\u003c/p>\n\u003cp>These are vast ambitions. And Greig doesn’t always succeed in attaining them. Many of the scenes between Claire and the various people who try to help her or give her some understanding of the boy come off as sketchy and perfunctory. The boy’s father acts like no parent I’ve ever come across. The psychologist is less a character than a tool to get Claire to talk. A choir member’s complaint of Claire’s post-assault leadership is unconvincing, as if the playwright felt it necessary for the chorus to at some point reject his heroine.\u003c/p>\n\u003cfigure id=\"attachment_13235765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235765\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-800x456.jpg\" alt=\"The boy (Caleb Cabrera) takes an ominous turn conducting the chorus in the Shotgun Player's production of 'The Events' by David Grieg.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The boy (Caleb Cabrera) takes an ominous turn conducting the choir in the Shotgun Player’s production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You want Greig to think and feel with greater sense, to imbue each and every moment of the play with the texture and uncertainty of actual life. Yet, what the dramatist doesn’t fully provide, Shotgun’s thrilling production does. Martin’s direction possesses an electric clarity that keeps us focused on what’s best in Greig’s script. McNeal and Cabrera’s performances are astonishing in their restraint, as muted as they are explosive. And the presence of a chorus of non-actors creates a kind of relaxed beauty to the evening.\u003c/p>\n\u003cp>We’re in the midst of real cultural change, where some theaters are seeking to take the place of the church. Not as a new cosmogony, but rather as a place where people go to heal and be healed. What type of art will come of this? Well, it’s hard to predict the future, but Shotgun’s attempt to grab hold of these events and give them meaning is surprisingly persuasive and moving.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Shotgun Players’ ‘The Events’ runs through Sunday, Jun. 11 at the Ashby Stage in Berkeley. For tickes and information \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the end of David Greig’s \u003cem>The Events\u003c/em> under Susannah Martin’s superb direction for \u003ca href=\"https://shotgunplayers.org/Online/events\" target=\"_blank\" rel=\"noopener noreferrer\">Shotgun Players\u003c/a>, I wondered about just what kind of achievement I had witnessed. Some moments soared in odd and surprising ways, while others weren’t quite credible, though never to the detriment of what turned out to be a strange and special evening. In the age of President Donald Trump and an ascendant and revolutionary right, here was a full-throated liberal plea for a different world and most definitely a different theater.\u003c/p>\n\u003cfigure id=\"attachment_13235767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-800x456.jpg\" alt=\"Claire (Julia McNeal) gets ready to conduct in the Shotgun Player's production of 'The Events' by David Grieg.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod7-e1494876393501.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire (Julia McNeal) gets ready to conduct in the Shotgun Player’s production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That the show begins with a song sung by a local community choir (apparently every performance features a different group) is the first of \u003cem>The Events’ \u003c/em>many beauties. At opening night, the \u003ca href=\"http://www.gallimaufrysings.org\">Gallimaufry Chamber Chorus \u003c/a>milled about, clutching their scores, and drinking coffee. I almost walked on stage to join them, thinking it was a pre-performance audience mixer. So even before \u003cem>The Events\u003c/em> begin we’re thrust into a disorienting realism.\u003c/p>\n\u003cp>When the choristers begin to sing, you can’t help but feel the church the Ashby Stage once was coming back to life. Without espousing or demanding belief, Greig reorders the theater-going experience. We aren’t just watching a play, but also taking on the roles of witness and congregant. It’s what will make the ripped-from-the-headlines tragedy of a young man’s mass shooting of an immigrant chorus bearable and worthy of our attention. There’s not one moment of the sensational.\u003c/p>\n\u003cp>And so the play doesn’t so much start but instead comes to life. We instantly become acutely aware of space and physical relations. Choir members tend to bunch together, and so we naturally notice who is outside the group, outside the sphere of music. Claire (Julia McNeal),\u003cb> \u003c/b>the parish priest who leads the choir, sits behind the singers listening with pride and appreciation, and a young man — called “the boy” in the play (Caleb Cabrera)\u003cb> \u003c/b>— stands in the shadows of the auditorium, just off stage.\u003c/p>\n\u003cfigure id=\"attachment_13235768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-800x458.jpg\" alt=\"The boy (Caleb Cabrera) begins in the shadows and then takes center stage in the Shotgun Players' production of 'The Events' by David Grieg.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-960x550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815-520x298.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod6-e1494875997815.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The boy (Caleb Cabrera) begins in the shadows and then takes center stage in the Shotgun Players’ production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is a wonderful geometry here: the guardian priest and the killer boy, both hovering on the edge of the community. In one of the play’s stinging ironies, it is Claire, playing the protector, who invites the killer into the sanctuary. And the actor who plays the boy plays everyone else in Claire’s life — her psychologist, her lover Catriona, the boy’s drunken father, a new age shaman she hires for a healing ceremony, a far-right politician — which twists the knot of pain even tighter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Claire, who has molded a group of disparate immigrants into a choir, now sees her killer in every single person she encounters. The playwright insists against all our instincts of justice that we are somehow the same, one single entity. To banish the killer from our lives is to banish the most complex and human part of our souls.\u003c/p>\n\u003cp>These are vast ambitions. And Greig doesn’t always succeed in attaining them. Many of the scenes between Claire and the various people who try to help her or give her some understanding of the boy come off as sketchy and perfunctory. The boy’s father acts like no parent I’ve ever come across. The psychologist is less a character than a tool to get Claire to talk. A choir member’s complaint of Claire’s post-assault leadership is unconvincing, as if the playwright felt it necessary for the chorus to at some point reject his heroine.\u003c/p>\n\u003cfigure id=\"attachment_13235765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235765\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-800x456.jpg\" alt=\"The boy (Caleb Cabrera) takes an ominous turn conducting the chorus in the Shotgun Player's production of 'The Events' by David Grieg.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/prod5-e1494876117894.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The boy (Caleb Cabrera) takes an ominous turn conducting the choir in the Shotgun Player’s production of ‘The Events’ by David Greig. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You want Greig to think and feel with greater sense, to imbue each and every moment of the play with the texture and uncertainty of actual life. Yet, what the dramatist doesn’t fully provide, Shotgun’s thrilling production does. Martin’s direction possesses an electric clarity that keeps us focused on what’s best in Greig’s script. McNeal and Cabrera’s performances are astonishing in their restraint, as muted as they are explosive. And the presence of a chorus of non-actors creates a kind of relaxed beauty to the evening.\u003c/p>\n\u003cp>We’re in the midst of real cultural change, where some theaters are seeking to take the place of the church. Not as a new cosmogony, but rather as a place where people go to heal and be healed. What type of art will come of this? Well, it’s hard to predict the future, but Shotgun’s attempt to grab hold of these events and give them meaning is surprisingly persuasive and moving.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Shotgun Players’ ‘The Events’ runs through Sunday, Jun. 11 at the Ashby Stage in Berkeley. For tickes and information \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>A Midsummer Night’s Dream. Marat/Sade. The Mahabharata.\u003c/em>\u003c/p>\n\u003cp>The 92-year-old, British-born, Paris-based theater director Peter Brook didn’t write any of those works, but his stagings of them are often talked about as defining moments in 20th century theater.\u003c/p>\n\u003cp>\u003cem>The Mahabharata\u003c/em> was a nine-hour event, not including the rest breaks. It brought to life an ancient Sanskrit epic poem with nearly two dozen performers from 16 different countries. Once it opened at 1985 in a quarry outside Avignon, France, avant garde theater buffs across the world made it a point to experience it.\u003c/p>\n\u003cp>Brook’s latest creation is \u003cem>Battlefield\u003c/em>, a 70-minute return to one part of \u003cem>The Mahabharata\u003c/em>, currently showing at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a>‘s Geary Stage in San Francisco.\u003c/p>\n\u003cp>KQED News host Brian Watt interviewed Brook. Listen to the extended audio segment, here:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio//2017/05/PeterBrookwithBrianWattextendedforWEBWithIntro.mp3\" title=\"Peter Brook interview\" program=\"Morning Edition\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/with-Peter-Brook-e1494608647926.jpg\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>A Midsummer Night’s Dream. Marat/Sade. The Mahabharata.\u003c/em>\u003c/p>\n\u003cp>The 92-year-old, British-born, Paris-based theater director Peter Brook didn’t write any of those works, but his stagings of them are often talked about as defining moments in 20th century theater.\u003c/p>\n\u003cp>\u003cem>The Mahabharata\u003c/em> was a nine-hour event, not including the rest breaks. It brought to life an ancient Sanskrit epic poem with nearly two dozen performers from 16 different countries. Once it opened at 1985 in a quarry outside Avignon, France, avant garde theater buffs across the world made it a point to experience it.\u003c/p>\n\u003cp>Brook’s latest creation is \u003cem>Battlefield\u003c/em>, a 70-minute return to one part of \u003cem>The Mahabharata\u003c/em>, currently showing at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a>‘s Geary Stage in San Francisco.\u003c/p>\n\u003cp>KQED News host Brian Watt interviewed Brook. Listen to the extended audio segment, here:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cy and Suzie's Picks: Attending a Wedding, Biting Back at Oppression, and Goin' Way Out West",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and Suzie Racho share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>This is one of those weeks where it’s so hard to choose our picks, with an excess of terrific shows. The New Century Chamber Orchestra is finishing its 25th season, and saying goodbye to its music director and lead violinist Nadja Salerno-Sonnenberg, who leaves to teach full-time. Details \u003ca href=\"http://ncco.org/concert-tickets/2016-2017-season/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Word for Word, which has had a string of terrific shows, is working its stories-into-plays-magic with \u003cem>Smut\u003c/em> by Alan Bennett (\u003cem>History Boys\u003c/em>). Details \u003ca href=\"http://www.zspace.org/aboutwordforword/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And the Yerba Buena Center for the Arts welcomes back MacArthur “Genius” choreographer Kyle Abraham for the world premiere of the YBCA-commissioned \u003cem>Dearest Home. \u003c/em>Details \u003ca href=\"https://www.ybca.org/whats-on/dearest-home?gclid=CM2B1OmY5tMCFQ5EfgodIgEKUg\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003cem>.\u003c/em> On to the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CULSrvkzBfc\u003c/p>\n\u003cp>\u003cstrong>May 15\u003c/strong>: \u003ca href=\"https://www.martystuart.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Marty Stuart \u003c/a>is a great example of how country musicians keep pushing the limits of tradition. With his kick-ass band, the Fabulous Superlatives, Stuart has made an album of country-western psychedelia, with songs about the desert, cowboys, little green pills and little green men (no kidding). There are tips of the stylistic hat to Johnny Cash (Stuart once played in his band), the Bakersfield sound, and even the Grateful Dead. The album was produced by Mike Campbell, who often works with Tom Petty and the Heartbreakers, and partly recorded at Capitol Records, where Glen Campbell made “Wichita Lineman” and the Beach Boys recorded \u003cem>Pet Sounds. \u003c/em>The show at the Freight and Salvage May 15 is sold out, so get there early for standing room. Details \u003ca href=\"http://thefreight.org/marty-stuart-0\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003cem> \u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TpSpnPAQc6A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>May 12-13\u003c/strong>: \u003ca href=\"http://seandorseydance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Dorsey \u003c/a>is a transgender choreographer and dancer with an all-male ensemble, so he has men partnering and lifting men, and they move beautifully. His \u003ca href=\"http://www.sfgate.com/performance/article/Sean-Dorsey-s-Missing-Generation-a-powerful-6265816.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Missing Generation\u003c/em>\u003c/a> from a few years ago\u003ci> (\u003c/i>about the AIDS epidemic) was a revelation. Now he’s created a series of new short dances he’s calling \u003cem>Boys Bite Back \u003c/em>aimed at President Trump, full of what he says is anger, sass and “a lot of humor.” The program is a preview of a major new piece scheduled for next spring called \u003cem>Boys in Trouble\u003c/em>. Boys \u003cem>will\u003c/em> be boys. Details for the show running May 12-13 at Z Space are \u003ca href=\"http://www.zspace.org/sean-dorsey-2017\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13201631\" class=\"wp-caption aligncenter\" style=\"max-width: 349px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13201631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688.jpg\" alt=\"A page from an edition of Stockhausen's 'Stimmung'\" width=\"349\" height=\"256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688.jpg 349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688-240x176.jpg 240w\" sizes=\"(max-width: 349px) 100vw, 349px\">\u003cfigcaption class=\"wp-caption-text\">A page from an edition of Stockhausen’s ‘Stimmung.’ \u003ccite>(Photo: Courtesy of VOSV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 13 and 21\u003c/strong>: \u003ca href=\"http://www.karlheinzstockhausen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Karlheinz Stockhausen \u003c/a>influenced the Beatles (\u003ca href=\"https://www.theguardian.com/music/2015/dec/26/beatles-revolution-9-stockhausen-hymnen-avant-garde-pop\" target=\"_blank\" rel=\"noopener noreferrer\">“Revolution 9”\u003c/a>), and wrote some of the most eccentric electronic music of the 20th century, focusing on the way space and amplification shapes sound. His 1968 piece \u003ca href=\"https://www.youtube.com/watch?v=3hPkJW95jsw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stimmung, \u003c/em>\u003c/a>for six voices and microphones, may be his most alluring and meditative work. The lyrics (in German) are drawn from the days of the week, the names of gods, and erotic poetry that Stockhausen wrote to his wife. The choristers sing more than one pitch at a time, creating weird phase shifts and oscillations. Give \u003ca href=\"http://www.voices-sv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Voices of Silicon Valley (VOSV)\u003c/a> full credit for giving this piece its first performance in the Bay Area since 1974. They’ve received permission to boost the number of singers, and VOSV is working with Stanford’s Center for Computer Research in Music and Acoustics on these shows, so the sound should be both meticulous and mesmerizing. Also on the bill is a performance of the very lively Congolese Mass \u003cem>Missa Luba\u003c/em>, famous for its use in the \u003ca href=\"https://www.youtube.com/watch?v=EvaeADC4-E8\" target=\"_blank\" rel=\"noopener noreferrer\">Malcolm McDowell film \u003c/a>\u003cem>If… \u003c/em>Details for the two performances of \u003cem>Stimmung\u003c/em> in San Francisco (at St. Elizabeth Catholic Church) and Mountain View (at Tateuchi Hall) in Mountain View are \u003ca href=\"http://www.voices-sv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13207536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13207536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-800x496.jpg\" alt=\"Cast of Monsoon Wedding, a world premiere musical at Berkeley Repertory Theater\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1920x1190.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1180x732.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-960x595.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of Monsoon Wedding, a world premiere musical at Berkeley Repertory Theater. \u003ccite>(Photo: Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 5-June 25:\u003c/strong> Director Mira Nair is remaking her 2002 \u003ca href=\"https://www.youtube.com/watch?v=eaP-UrmS6Ww\" target=\"_blank\" rel=\"noopener noreferrer\">movie \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=eaP-UrmS6Ww\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Monsoon Wedding\u003c/em>\u003c/a> into a musical, opening this week at Berkeley Repertory Theater. The film, about an arranged marriage in India, touches on class and race, holding onto tradition in a changing world, and family. I talked to Nair in Berkeley this week, and she said the stage musical also gets a new subplot about the \u003ca href=\"http://kashmirreader.com/2017/05/02/ideological-regression-india/\" target=\"_blank\" rel=\"noopener noreferrer\">violent divisions between Hindus and Muslims in India\u003c/a>, a timely subject for American audiences. “It [the strife in India] has come in a real tide of people building walls between each other, whether it is religion or it’s white versus black, and that insularity and that xenophobia that comes with this new era in America. So it was a chance to weave in that love is love. Really love has always been broken by borders, but love will triumph.” Berkeley Rep has become an important place to try out musicals headed for New York (\u003cem>Amelie\u003c/em>, and \u003cem>American Idiot\u003c/em>). Expect the same for this international effort. I can’t wait. Details \u003ca href=\"https://www.berkeleyrep.org/season/1617/10662.asp\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a> And click on the audio above to hear more of my interview with Nair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T6X8Qf6fe-4\u003c/p>\n\u003cp>\u003cstrong>May 17 and 23:\u003c/strong> \u003cem>L.A. Takedown\u003c/em> was a made-for-TV movie by director Michael Mann, and it’s also a terrific L.A. band. You may note the bandleader Aaron Olson didn’t bother with lyrics for the song in the video above, and that’s because he’s all about great rhythm sections and guitar solos. The sound has been described as “\u003cem>Baywatch\u003c/em> Krautrock.” L.A. Takedown’s first album was one song for 40-plus minutes. This new album (and the touring septet) works in a tighter format, but those guitar solos are just brilliant. Details for the show by L.A. Takedown (with former Bay Area bandleader Bart Davenport opening) at Oakland’s Starline Social Club are \u003ca href=\"http://www.ticketfly.com/event/1446325-l-takedown-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And for their show at San Francisco’s Swedish American Hall, look \u003ca href=\"http://www.ticketfly.com/event/1446318-l-takedown-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KEe7nYTw_Ik\u003c/p>\n\u003cp>\u003cstrong>May 12 and 13:\u003c/strong> \u003ca href=\"http://www.mazjobrani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maz Jobrani\u003c/a> is a regular on \u003cem>Wait Wait… Don’t Tell Me! \u003c/em>and on \u003ca href=\"http://www.cbs.com/shows/superior-donuts/\" target=\"_blank\" rel=\"noopener noreferrer\">Superior Donuts\u003c/a>, is a TED talker, and very funny, even when he’s joking about the way America treats immigrants and Muslim-Americans like him. He should feel right at home here in the Bay Area liberal bubble. Details for his Cobb’s Comedy Club show are \u003ca href=\"http://www.cobbscomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "On The Do List this week, we talk to 'Monsoon Wedding' director Mira Nair, and discuss Voices of Silicon Valley, Marty Stuart, L.A. Takedown and more.",
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"title": "Cy and Suzie's Picks: Attending a Wedding, Biting Back at Oppression, and Goin' Way Out West | KQED",
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"headline": "Cy and Suzie's Picks: Attending a Wedding, Biting Back at Oppression, and Goin' Way Out West",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and Suzie Racho share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>This is one of those weeks where it’s so hard to choose our picks, with an excess of terrific shows. The New Century Chamber Orchestra is finishing its 25th season, and saying goodbye to its music director and lead violinist Nadja Salerno-Sonnenberg, who leaves to teach full-time. Details \u003ca href=\"http://ncco.org/concert-tickets/2016-2017-season/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Word for Word, which has had a string of terrific shows, is working its stories-into-plays-magic with \u003cem>Smut\u003c/em> by Alan Bennett (\u003cem>History Boys\u003c/em>). Details \u003ca href=\"http://www.zspace.org/aboutwordforword/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And the Yerba Buena Center for the Arts welcomes back MacArthur “Genius” choreographer Kyle Abraham for the world premiere of the YBCA-commissioned \u003cem>Dearest Home. \u003c/em>Details \u003ca href=\"https://www.ybca.org/whats-on/dearest-home?gclid=CM2B1OmY5tMCFQ5EfgodIgEKUg\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003cem>.\u003c/em> On to 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/CULSrvkzBfc'\n title='//www.youtube.com/embed/CULSrvkzBfc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 15\u003c/strong>: \u003ca href=\"https://www.martystuart.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Marty Stuart \u003c/a>is a great example of how country musicians keep pushing the limits of tradition. With his kick-ass band, the Fabulous Superlatives, Stuart has made an album of country-western psychedelia, with songs about the desert, cowboys, little green pills and little green men (no kidding). There are tips of the stylistic hat to Johnny Cash (Stuart once played in his band), the Bakersfield sound, and even the Grateful Dead. The album was produced by Mike Campbell, who often works with Tom Petty and the Heartbreakers, and partly recorded at Capitol Records, where Glen Campbell made “Wichita Lineman” and the Beach Boys recorded \u003cem>Pet Sounds. \u003c/em>The show at the Freight and Salvage May 15 is sold out, so get there early for standing room. Details \u003ca href=\"http://thefreight.org/marty-stuart-0\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003cem> \u003c/em>\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/TpSpnPAQc6A'\n title='//www.youtube.com/embed/TpSpnPAQc6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 12-13\u003c/strong>: \u003ca href=\"http://seandorseydance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Dorsey \u003c/a>is a transgender choreographer and dancer with an all-male ensemble, so he has men partnering and lifting men, and they move beautifully. His \u003ca href=\"http://www.sfgate.com/performance/article/Sean-Dorsey-s-Missing-Generation-a-powerful-6265816.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Missing Generation\u003c/em>\u003c/a> from a few years ago\u003ci> (\u003c/i>about the AIDS epidemic) was a revelation. Now he’s created a series of new short dances he’s calling \u003cem>Boys Bite Back \u003c/em>aimed at President Trump, full of what he says is anger, sass and “a lot of humor.” The program is a preview of a major new piece scheduled for next spring called \u003cem>Boys in Trouble\u003c/em>. Boys \u003cem>will\u003c/em> be boys. Details for the show running May 12-13 at Z Space are \u003ca href=\"http://www.zspace.org/sean-dorsey-2017\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13201631\" class=\"wp-caption aligncenter\" style=\"max-width: 349px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13201631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688.jpg\" alt=\"A page from an edition of Stockhausen's 'Stimmung'\" width=\"349\" height=\"256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688.jpg 349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688-240x176.jpg 240w\" sizes=\"(max-width: 349px) 100vw, 349px\">\u003cfigcaption class=\"wp-caption-text\">A page from an edition of Stockhausen’s ‘Stimmung.’ \u003ccite>(Photo: Courtesy of VOSV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 13 and 21\u003c/strong>: \u003ca href=\"http://www.karlheinzstockhausen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Karlheinz Stockhausen \u003c/a>influenced the Beatles (\u003ca href=\"https://www.theguardian.com/music/2015/dec/26/beatles-revolution-9-stockhausen-hymnen-avant-garde-pop\" target=\"_blank\" rel=\"noopener noreferrer\">“Revolution 9”\u003c/a>), and wrote some of the most eccentric electronic music of the 20th century, focusing on the way space and amplification shapes sound. His 1968 piece \u003ca href=\"https://www.youtube.com/watch?v=3hPkJW95jsw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stimmung, \u003c/em>\u003c/a>for six voices and microphones, may be his most alluring and meditative work. The lyrics (in German) are drawn from the days of the week, the names of gods, and erotic poetry that Stockhausen wrote to his wife. The choristers sing more than one pitch at a time, creating weird phase shifts and oscillations. Give \u003ca href=\"http://www.voices-sv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Voices of Silicon Valley (VOSV)\u003c/a> full credit for giving this piece its first performance in the Bay Area since 1974. They’ve received permission to boost the number of singers, and VOSV is working with Stanford’s Center for Computer Research in Music and Acoustics on these shows, so the sound should be both meticulous and mesmerizing. Also on the bill is a performance of the very lively Congolese Mass \u003cem>Missa Luba\u003c/em>, famous for its use in the \u003ca href=\"https://www.youtube.com/watch?v=EvaeADC4-E8\" target=\"_blank\" rel=\"noopener noreferrer\">Malcolm McDowell film \u003c/a>\u003cem>If… \u003c/em>Details for the two performances of \u003cem>Stimmung\u003c/em> in San Francisco (at St. Elizabeth Catholic Church) and Mountain View (at Tateuchi Hall) in Mountain View are \u003ca href=\"http://www.voices-sv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13207536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13207536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-800x496.jpg\" alt=\"Cast of Monsoon Wedding, a world premiere musical at Berkeley Repertory Theater\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1920x1190.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1180x732.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-960x595.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of Monsoon Wedding, a world premiere musical at Berkeley Repertory Theater. \u003ccite>(Photo: Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 5-June 25:\u003c/strong> Director Mira Nair is remaking her 2002 \u003ca href=\"https://www.youtube.com/watch?v=eaP-UrmS6Ww\" target=\"_blank\" rel=\"noopener noreferrer\">movie \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=eaP-UrmS6Ww\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Monsoon Wedding\u003c/em>\u003c/a> into a musical, opening this week at Berkeley Repertory Theater. The film, about an arranged marriage in India, touches on class and race, holding onto tradition in a changing world, and family. I talked to Nair in Berkeley this week, and she said the stage musical also gets a new subplot about the \u003ca href=\"http://kashmirreader.com/2017/05/02/ideological-regression-india/\" target=\"_blank\" rel=\"noopener noreferrer\">violent divisions between Hindus and Muslims in India\u003c/a>, a timely subject for American audiences. “It [the strife in India] has come in a real tide of people building walls between each other, whether it is religion or it’s white versus black, and that insularity and that xenophobia that comes with this new era in America. So it was a chance to weave in that love is love. Really love has always been broken by borders, but love will triumph.” Berkeley Rep has become an important place to try out musicals headed for New York (\u003cem>Amelie\u003c/em>, and \u003cem>American Idiot\u003c/em>). Expect the same for this international effort. I can’t wait. Details \u003ca href=\"https://www.berkeleyrep.org/season/1617/10662.asp\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a> And click on the audio above to hear more of my interview with Nair.\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/T6X8Qf6fe-4'\n title='//www.youtube.com/embed/T6X8Qf6fe-4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 17 and 23:\u003c/strong> \u003cem>L.A. Takedown\u003c/em> was a made-for-TV movie by director Michael Mann, and it’s also a terrific L.A. band. 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He should feel right at home here in the Bay Area liberal bubble. Details for his Cobb’s Comedy Club show are \u003ca href=\"http://www.cobbscomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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