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"content": "\u003cp>Ignorance is Strength, War is Peace, Freedom is Slavery, Big Brother is Watching: \u003cem>1984 \u003c/em>has come to Broadway. George Orwell’s dystopian novel tells the story of a man who works at the Ministry of Truth creating fake news for a totalitarian regime. The stage adaptation opens in New York on Friday.\u003c/p>\n\u003cp>After a recent performance of \u003cem>1984\u003c/em>, Dorit Friedman, a doctor from Great Neck, N.Y., says she was stuck by how contemporary the story feels. “Big Brother is watching us, that’s for sure …” she says. “Little did we know that that was going to be reality.”\u003c/p>\n\u003cp>Facebook and Amazon know what you like. Orwell wrote his novel in reaction to the fascism and totalitarianism that had engulfed the globe during and after World War II. The novel has always been a steady seller, but since the election e-book sales spiked.\u003c/p>\n\u003cp>“So far this year we sold over 200,000 copies, just in five months and I don’t think that’s going to slow down,” says Bruce Nichols, the book’s current publisher at Houghton Mifflin Harcourt. “\u003cem>1984\u003c/em> holds up because Orwell’s political incisiveness, when he talks about newspeak, it applies to all kinds of spin which we see every day. And it seems to only ever get worse.”\u003c/p>\n\u003cp>Two days after Donald Trump’s inauguration, Kellyanne Conway coined the phrase “alternative facts” on \u003cem>Meet the Press. \u003c/em>Around that same time, \u003cem>1984\u003c/em> shot up to No. 1 on Amazon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s quite something to bring it to New York now, in this political climate,” says Duncan Macmillan, who co-authored and co-directed the Broadway adaptation. He points to one moment in the book when protagonist Winston Smith says, “Freedom is the freedom to say that two plus two makes four.”\u003c/p>\n\u003cp>The audience reaction changes nightly, depending on the current news cycle.\u003c/p>\n\u003cp>“Last night was like a sort of volatile town hall meeting,” Macmillan says, of a preview performance that took place the same day that Trump announced the U.S. withdrawal from the Paris Climate Accords. “People were shouting out ‘resist!’ People were arguing with characters and applauding certain sentiments. And it wasn’t just, you know, a liberal audience. It was little pockets around the room sort of debating with each other. And that felt really live and exciting.”\u003c/p>\n\u003cp>The actors feel it, too.\u003cem> \u003c/em>\u003c/p>\n\u003cp>“We’re all in this room together, we’re all experiencing this together,” says Tom Sturridge, who plays Winston Smith. “We influence each other. 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I don’t think I am.’ ”\u003c/p>\n\u003cp>The adaptation forthrightly deals with the novel’s concepts — who controls information and language to assert power, living in a perpetual present, the concept of doublethink — keeping two opposing thoughts in one’s mind, while genuinely believing both. But it’s the visceral nature of the production, with graphic images of torture, which has made some audience members walk out.\u003c/p>\n\u003cp>“It’s not an easy evening, I should warn people,” Macmillan says. “It doesn’t give you any conclusions, actually. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ignorance is Strength, War is Peace, Freedom is Slavery, Big Brother is Watching: \u003cem>1984 \u003c/em>has come to Broadway. George Orwell’s dystopian novel tells the story of a man who works at the Ministry of Truth creating fake news for a totalitarian regime. The stage adaptation opens in New York on Friday.\u003c/p>\n\u003cp>After a recent performance of \u003cem>1984\u003c/em>, Dorit Friedman, a doctor from Great Neck, N.Y., says she was stuck by how contemporary the story feels. “Big Brother is watching us, that’s for sure …” she says. “Little did we know that that was going to be reality.”\u003c/p>\n\u003cp>Facebook and Amazon know what you like. Orwell wrote his novel in reaction to the fascism and totalitarianism that had engulfed the globe during and after World War II. The novel has always been a steady seller, but since the election e-book sales spiked.\u003c/p>\n\u003cp>“So far this year we sold over 200,000 copies, just in five months and I don’t think that’s going to slow down,” says Bruce Nichols, the book’s current publisher at Houghton Mifflin Harcourt. “\u003cem>1984\u003c/em> holds up because Orwell’s political incisiveness, when he talks about newspeak, it applies to all kinds of spin which we see every day. And it seems to only ever get worse.”\u003c/p>\n\u003cp>Two days after Donald Trump’s inauguration, Kellyanne Conway coined the phrase “alternative facts” on \u003cem>Meet the Press. \u003c/em>Around that same time, \u003cem>1984\u003c/em> shot up to No. 1 on Amazon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s quite something to bring it to New York now, in this political climate,” says Duncan Macmillan, who co-authored and co-directed the Broadway adaptation. He points to one moment in the book when protagonist Winston Smith says, “Freedom is the freedom to say that two plus two makes four.”\u003c/p>\n\u003cp>The audience reaction changes nightly, depending on the current news cycle.\u003c/p>\n\u003cp>“Last night was like a sort of volatile town hall meeting,” Macmillan says, of a preview performance that took place the same day that Trump announced the U.S. withdrawal from the Paris Climate Accords. “People were shouting out ‘resist!’ People were arguing with characters and applauding certain sentiments. And it wasn’t just, you know, a liberal audience. It was little pockets around the room sort of debating with each other. And that felt really live and exciting.”\u003c/p>\n\u003cp>The actors feel it, too.\u003cem> \u003c/em>\u003c/p>\n\u003cp>“We’re all in this room together, we’re all experiencing this together,” says Tom Sturridge, who plays Winston Smith. “We influence each other. The way you react, shout out in this play, which is extraordinary, makes you enormously complicit in the evening that we have together.\u003c/p>\n\u003cp>Olivia Wilde, who plays Winston’s lover, Julia (people have a tendency to forget there’s a love story at the center of \u003cem>1984)\u003c/em> says the stage adaptation messes with the audience’s heads, much like reading the book. Winston Smith is willing to do anything to bring down the government for which he works, even when pressed by a duplicitous character.\u003cem>\u003c/em>\u003c/p>\n\u003cp>“We can feel the audience slowly falling into line behind Winston; they embrace him as their hero,” she says. “They root for him and then [when the antagonist,] O’Brien says, ‘If it would help the party, would you throw acid in a small child’s face?’ And we can hear this gasp from the audience. And he says, ‘Yes.’ And suddenly we question, ‘Well, hang on a minute. Am I Winston? I thought I was Winston. Am I willing to go that far? I don’t think I am.’ ”\u003c/p>\n\u003cp>The adaptation forthrightly deals with the novel’s concepts — who controls information and language to assert power, living in a perpetual present, the concept of doublethink — keeping two opposing thoughts in one’s mind, while genuinely believing both. But it’s the visceral nature of the production, with graphic images of torture, which has made some audience members walk out.\u003c/p>\n\u003cp>“It’s not an easy evening, I should warn people,” Macmillan says. “It doesn’t give you any conclusions, actually. And it leaves you with something, I hope, if it works properly, to resolve in yourself and with each other to try and work out what the hell it is you’ve just been exposed to, as it is with the novel.”\u003c/p>\n\u003cp>Amanda Bias, a high school English teacher from New Jersey who came with a group of co-workers, teaches the book to her seniors.\u003c/p>\n\u003cp>“I don’t think kids necessarily know what they’re always getting as a source, in the information they’re getting,” she says. “And we have to teach them what’s right and what’s wrong and, at least, what’s credible. And I think that’s a pretty good message.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Especially, she says, in the world we live in now, where two plus two can sometimes equal five. \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=%271984%27+Comes+To+Broadway+And+%27It%27s+Not+An+Easy+Evening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-ericas-picks-monterey-pop-bless-me-ultima-the-opera-and-a-visit-to-north-beach",
"title": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach",
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"headTitle": "Cy and Erica’s Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach | KQED",
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"content": "\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C_HEU68f96w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KabkFfwJK3E\u003c/p>\n\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x4tGJLqZ4-k\u003c/p>\n\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C_HEU68f96w'\n title='//www.youtube.com/embed/C_HEU68f96w'\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>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\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/KabkFfwJK3E'\n title='//www.youtube.com/embed/KabkFfwJK3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x4tGJLqZ4-k'\n title='//www.youtube.com/embed/x4tGJLqZ4-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "A Trump-Tinged ‘Julius Caesar’: What Now?",
"headTitle": "A Trump-Tinged ‘Julius Caesar’: What Now? | KQED",
"content": "\u003cp>In Act III of \u003cem>Hamlet\u003c/em>, when the skirt-chasing, king-killing, crown-usurping villain Claudius watches a play entitled \u003cem>The Murder of Gonzago\u003c/em> about a similarly skirt-chasing, king-killing, crown-usurping villain, he recoils at seeing himself portrayed and runs screaming from the theater: “Give me some light, away!”\u003c/p>\n\u003cp>So it’s been no surprise over the past few days to witness the knee-jerk reactions from the Trump team, the right-wing media and two major corporations to the Public Theater’s latest production of \u003cem>Julius Caesar\u003c/em>, which depicts the murder of a Trump-esque Caesar in gory fashion. Over the weekend, the president’s own son performed a wounded sparrow act on Twitter, Breitbart and Fox acted suitably scandalized and Delta Airlines and Bank of America withdrew financial support of the show.\u003c/p>\n\u003cp>https://twitter.com/DonaldJTrumpJr/status/873916847191724033\u003c/p>\n\u003cp>Meanwhile, on the other side of the political fence, the media has been aflame with defenses of Shakespeare’s 1599 political drama (Shakespeare makes it clear that the murder of Julius Caesar isn’t a good thing) as well as Oskar Eustis’ production for the Public (the director’s production notes include a warning: “Those who attempt to defend democracy by undemocratic methods pay a terrible price and destroy their republic.”)\u003c/p>\n\u003cp>At a time when stage productions outside of \u003cem>Hamilton\u003c/em> rarely make headlines, it’s been edifying to see the art form do what it was set up to do since back in the days of Aristophanes and Aeschylus: make trouble. But because we’re not used to theater having this kind of impact, we’re left wondering, what now? “People talk about what theater does, but it’s rare that it actually hits a nerve,” says theater director and Yerba Buena Center for the Arts’ Jonathan Moscone. “Here we are in a situation where theater is hitting a nerve and we don’t know what to do with it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there are several things art can do in the face of such an assault on the freedom of creative expression. The most important is to stick up for itself.\u003c/p>\n\u003cp>Moscone has an interesting cautionary tale about the time he produced a production of \u003cem>Julius Caesar\u003c/em> for the California Shakespeare Theater that speaks to this necessity. It was in 2003, when Moscone was near the start of his tenure as artistic director of the company. His take on \u003cem>Caesar\u003c/em> — like all productions of this play — was politically charged, referencing the 1978 slaying of his father, San Francisco mayor George Moscone.\u003c/p>\n\u003cp>In preview performances, Moscone had the actor playing Brutus pull a gun and shoot Caesar, instead of stabbing him. This theatrical glance at real-life events — the death of the mayor — caused consternation among audience members in previews, Moscone says. “The thing that triggered this was literally a trigger,” Moscone says. “I had people run up to me and yell at me for doing that.”\u003c/p>\n\u003cp>Still relatively young in his role with the company, Moscone decided to replace the gun with a knife. “It was a decision I made at the time as a new artistic director,” Moscone says. “Would I do that now? No.”\u003c/p>\n\u003cfigure id=\"attachment_13423011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13423011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg\" alt=\"A 2003 production of 'Julius Ceasar' at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Ceasar that recalled the director's father, the late George Moscone.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 2003 production of ‘Julius Caesar’ at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Caesar that recalled the director’s father, the late George Moscone. \u003ccite>(Jay Yamada/Courtesy Cal Shakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in that same season, when audiences complained about a Cal Shakes staging of \u003cem>Measure for Measure\u003c/em> which included an executioner wearing a George W. Bush mask, Moscone didn’t change course. “It’s a dangerous place to be,” Moscone says. “We should be doing this all the time.”\u003c/p>\n\u003cp>But there’s a certain peril in staging productions that make obvious political parallels between Shakespeare’s world and our own. Should they end up failing in their mission to get the message across, they fail all the more spectacularly. Which brings me to the second important thing theater should do at this moment, which is to more carefully consider its tactics.\u003c/p>\n\u003cp>When the Oregon Shakespeare Festival produced \u003cem>Julius Caesar\u003c/em> in 2011 with a woman in the title role — Vilma Silva — you couldn’t help but have to balance Silva’s brilliant portrayal of a leader drunk on power with the murder of a female premier destroyed by the men around her. The production brought out all the complexities of Shakespeare’s play while making a strong feminist political statement without needing to resort to putting Silva in a Hillary Clinton pantsuit or Queen Victoria pearls.\u003c/p>\n\u003cp>The reason we keep coming back to Shakespeare and other great dramatists like him is because their messages about power, leadership and its undoing transcend the moment. They endure. So whether a director puts Caesar in a toga or a red tie ultimately doesn’t matter. If it’s a strong production, its resonance to today’s world should be loud and clear.\u003c/p>\n\u003cp>Sigh.\u003c/p>\n\u003cp>If only that were really the case. In the din of today’s media landscape, where many people draw their conclusions based on a headline or an opinion expressed in 140 characters or less, it makes sense, at one level, for a theater director who wants to make an impression beyond the confines of an auditorium to go for the bleeding obvious — and put Trump, complete with gold bathtub and Slavic-accented wife, right there up on stage. After all, great art is subtle and rarely easy on the brain; understanding it requires patience, and who the hell has time for that? “Shakespeare demands breathing room and we as a nation are not breathing,” Moscone says. “We’re choking and everything is crisis responding.”\u003c/p>\n\u003cp>This reality causes Eric Ting, who took over from Moscone as artistic director of Cal Shakes in 2015, a great deal of concern. He notes that the problems for the Public arose when people took the one epic moment in the company’s production of \u003cem>Julius Caesar\u003c/em> — the grisly murder scene of the Trump-like Caesar figure — out of context, unable to see the larger and more nuanced message of the whole play. “This is a single moment in a production of a great, classical drama,” Ting says. “What is missed is the context of that moment: that \u003cem>Julius Caesar\u003c/em> is a play that says ‘violent means beget violent ends.’”\u003c/p>\n\u003cp>https://twitter.com/BofA_News/status/874079447909052417\u003c/p>\n\u003cp>What’s a theater director to do? By presenting Shakespeare (or for that matter Bertolt Brecht, Suzan-Lori Parks or Caryl Churchill) in all its depth and subtlety, one risks reaching only fans of the performing arts, and the show tip-toeing quietly into oblivion. But when trying to grab the public’s attention with some kind of shock tactic that causes less than a moment of thought prior to eliciting a reaction, there’s every chance it will be misinterpreted.\u003c/p>\n\u003cp>Which brings me to my third and final thing that theater can do: It should never give up. What the hoopla surrounding the Public’s \u003cem>Julius Caesar\u003c/em> teaches us is that this art form can make a great noise and send the corporate overlords into a tailspin. As I write, I wouldn’t be surprised if others among the Public’s sponsors stepped up to redouble their support of the company in the wake of Delta Airlines’ and Bank of America’s withdrawal.\u003c/p>\n\u003cp>And if the day should come when we end up in a nuclear wasteland, where all power is down and none of our electronic devices work, at least there’ll still be theater — a few actors walking across a stage — to bear witness, tell the important stories of our times, and spread hope.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "A three-point game plan for the theater as our senior arts editor weighs in on the Public Theater controversy.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Act III of \u003cem>Hamlet\u003c/em>, when the skirt-chasing, king-killing, crown-usurping villain Claudius watches a play entitled \u003cem>The Murder of Gonzago\u003c/em> about a similarly skirt-chasing, king-killing, crown-usurping villain, he recoils at seeing himself portrayed and runs screaming from the theater: “Give me some light, away!”\u003c/p>\n\u003cp>So it’s been no surprise over the past few days to witness the knee-jerk reactions from the Trump team, the right-wing media and two major corporations to the Public Theater’s latest production of \u003cem>Julius Caesar\u003c/em>, which depicts the murder of a Trump-esque Caesar in gory fashion. Over the weekend, the president’s own son performed a wounded sparrow act on Twitter, Breitbart and Fox acted suitably scandalized and Delta Airlines and Bank of America withdrew financial support of the show.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Meanwhile, on the other side of the political fence, the media has been aflame with defenses of Shakespeare’s 1599 political drama (Shakespeare makes it clear that the murder of Julius Caesar isn’t a good thing) as well as Oskar Eustis’ production for the Public (the director’s production notes include a warning: “Those who attempt to defend democracy by undemocratic methods pay a terrible price and destroy their republic.”)\u003c/p>\n\u003cp>At a time when stage productions outside of \u003cem>Hamilton\u003c/em> rarely make headlines, it’s been edifying to see the art form do what it was set up to do since back in the days of Aristophanes and Aeschylus: make trouble. But because we’re not used to theater having this kind of impact, we’re left wondering, what now? “People talk about what theater does, but it’s rare that it actually hits a nerve,” says theater director and Yerba Buena Center for the Arts’ Jonathan Moscone. “Here we are in a situation where theater is hitting a nerve and we don’t know what to do with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there are several things art can do in the face of such an assault on the freedom of creative expression. The most important is to stick up for itself.\u003c/p>\n\u003cp>Moscone has an interesting cautionary tale about the time he produced a production of \u003cem>Julius Caesar\u003c/em> for the California Shakespeare Theater that speaks to this necessity. It was in 2003, when Moscone was near the start of his tenure as artistic director of the company. His take on \u003cem>Caesar\u003c/em> — like all productions of this play — was politically charged, referencing the 1978 slaying of his father, San Francisco mayor George Moscone.\u003c/p>\n\u003cp>In preview performances, Moscone had the actor playing Brutus pull a gun and shoot Caesar, instead of stabbing him. This theatrical glance at real-life events — the death of the mayor — caused consternation among audience members in previews, Moscone says. “The thing that triggered this was literally a trigger,” Moscone says. “I had people run up to me and yell at me for doing that.”\u003c/p>\n\u003cp>Still relatively young in his role with the company, Moscone decided to replace the gun with a knife. “It was a decision I made at the time as a new artistic director,” Moscone says. “Would I do that now? No.”\u003c/p>\n\u003cfigure id=\"attachment_13423011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13423011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg\" alt=\"A 2003 production of 'Julius Ceasar' at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Ceasar that recalled the director's father, the late George Moscone.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 2003 production of ‘Julius Caesar’ at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Caesar that recalled the director’s father, the late George Moscone. \u003ccite>(Jay Yamada/Courtesy Cal Shakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in that same season, when audiences complained about a Cal Shakes staging of \u003cem>Measure for Measure\u003c/em> which included an executioner wearing a George W. Bush mask, Moscone didn’t change course. “It’s a dangerous place to be,” Moscone says. “We should be doing this all the time.”\u003c/p>\n\u003cp>But there’s a certain peril in staging productions that make obvious political parallels between Shakespeare’s world and our own. Should they end up failing in their mission to get the message across, they fail all the more spectacularly. Which brings me to the second important thing theater should do at this moment, which is to more carefully consider its tactics.\u003c/p>\n\u003cp>When the Oregon Shakespeare Festival produced \u003cem>Julius Caesar\u003c/em> in 2011 with a woman in the title role — Vilma Silva — you couldn’t help but have to balance Silva’s brilliant portrayal of a leader drunk on power with the murder of a female premier destroyed by the men around her. The production brought out all the complexities of Shakespeare’s play while making a strong feminist political statement without needing to resort to putting Silva in a Hillary Clinton pantsuit or Queen Victoria pearls.\u003c/p>\n\u003cp>The reason we keep coming back to Shakespeare and other great dramatists like him is because their messages about power, leadership and its undoing transcend the moment. They endure. So whether a director puts Caesar in a toga or a red tie ultimately doesn’t matter. If it’s a strong production, its resonance to today’s world should be loud and clear.\u003c/p>\n\u003cp>Sigh.\u003c/p>\n\u003cp>If only that were really the case. In the din of today’s media landscape, where many people draw their conclusions based on a headline or an opinion expressed in 140 characters or less, it makes sense, at one level, for a theater director who wants to make an impression beyond the confines of an auditorium to go for the bleeding obvious — and put Trump, complete with gold bathtub and Slavic-accented wife, right there up on stage. After all, great art is subtle and rarely easy on the brain; understanding it requires patience, and who the hell has time for that? “Shakespeare demands breathing room and we as a nation are not breathing,” Moscone says. “We’re choking and everything is crisis responding.”\u003c/p>\n\u003cp>This reality causes Eric Ting, who took over from Moscone as artistic director of Cal Shakes in 2015, a great deal of concern. He notes that the problems for the Public arose when people took the one epic moment in the company’s production of \u003cem>Julius Caesar\u003c/em> — the grisly murder scene of the Trump-like Caesar figure — out of context, unable to see the larger and more nuanced message of the whole play. “This is a single moment in a production of a great, classical drama,” Ting says. “What is missed is the context of that moment: that \u003cem>Julius Caesar\u003c/em> is a play that says ‘violent means beget violent ends.’”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>What’s a theater director to do? By presenting Shakespeare (or for that matter Bertolt Brecht, Suzan-Lori Parks or Caryl Churchill) in all its depth and subtlety, one risks reaching only fans of the performing arts, and the show tip-toeing quietly into oblivion. But when trying to grab the public’s attention with some kind of shock tactic that causes less than a moment of thought prior to eliciting a reaction, there’s every chance it will be misinterpreted.\u003c/p>\n\u003cp>Which brings me to my third and final thing that theater can do: It should never give up. What the hoopla surrounding the Public’s \u003cem>Julius Caesar\u003c/em> teaches us is that this art form can make a great noise and send the corporate overlords into a tailspin. As I write, I wouldn’t be surprised if others among the Public’s sponsors stepped up to redouble their support of the company in the wake of Delta Airlines’ and Bank of America’s withdrawal.\u003c/p>\n\u003cp>And if the day should come when we end up in a nuclear wasteland, where all power is down and none of our electronic devices work, at least there’ll still be theater — a few actors walking across a stage — to bear witness, tell the important stories of our times, and spread hope.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Delta, BofA Drop Support For 'Julius Caesar' That Looks Too Much Like Trump",
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"content": "\u003cp>Two major corporate sponsors have pulled their support for a New York City production of \u003cem>Julius Caesar. \u003c/em>At issue: The titular role has an unmistakably Trumpian air. And, um, spoiler alert: He gets assassinated.\u003c/p>\n\u003cp>The Julius Caesar in the The Public Theater’s production “has blond hair, a fondness for long ties and a fashionable wife who speaks with a Slavic accent,” as NPR’s Jeff Lunden reports. Conspirators stab him to death on stage, making for some \u003ca href=\"http://www.npr.org/2017/05/31/530799564/kathy-griffin-apologizes-for-disturbing-depiction-of-trumps-head\">Kathy Griffin-like gore\u003c/a>.\u003c/p>\n\u003cp>In the funeral scene, according to a review in the \u003cem>\u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwimv66r67jUAhVGKWMKHfsjC00QFggoMAA&url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F09%2Ftheater%2Freview-julius-caesar-delacorte-theater-donald-trump.html&usg=AFQjCNEzdtUkt6ymWQQjCYbZ8pzPfRu96A&sig2=rJ51KPuoTF5tWmC2b6a_2w\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, “Marc Antony exposes not just Caesar’s sliced-up garment, as Shakespeare indicates, but also his bare, wound-ripped flesh.”\u003c/p>\n\u003cp>Delta and Bank of America both pulled their sponsorship over the production, which has been the target of criticism in recent days from right-leaning outlets such as \u003ca href=\"http://www.breitbart.com/big-hollywood/2017/06/06/trump-stabbed-death-central-park-performance-julius-caesar/\">Breitbart\u003c/a> and \u003ca href=\"http://insider.foxnews.com/2017/06/11/donald-trump-julius-caesar-stabbed-death-women-minorities-shakespeare-central-park\">Fox News\u003c/a>, as well as from President Trump’s son Donald Trump Jr.\u003c/p>\n\u003cp>https://twitter.com/DonaldJTrumpJr/status/873916847191724033\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No matter what your political stance may be, the graphic staging of \u003cem>Julius Caesar\u003c/em> at this summer’s Free Shakespeare in the Park does not reflect Delta Air Lines’ values,” Delta \u003ca href=\"http://deadline.com/2017/06/delta-airlines-ends-sponsorship-of-public-theater-over-trump-like-julius-caesar-assassination-in-central-park-report-1202111395/\">said in a statement\u003c/a> to Deadline Hollywood.\u003c/p>\n\u003cp>“Their artistic and creative direction crossed the line on the standards of good taste. We have notified them of our decision to end our sponsorship as the official airline of The Public Theater effective immediately.”\u003c/p>\n\u003cp>Bank of America also terminated support for the production, though it will continue its relationship with the theater. “The Public Theater chose to present \u003cem>Julius Caesar\u003c/em> in a way that was intended to provoke and offend,” the bank said in a statement to Deadline. “Had this intention been made known to us, we would have decided not to sponsor it.”\u003c/p>\n\u003cp>\u003cem>The New York Times’\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/09/theater/review-julius-caesar-delacorte-theater-donald-trump.html\">review\u003c/a> says the play “takes onstage Trump-trolling to a startling new level.”\u003c/p>\n\u003cp>On Sunday, Donald Trump Jr. \u003ca href=\"https://twitter.com/DonaldJTrumpJr/status/873916847191724033?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F11%2Farts%2Fdelta-airline-trump-public-theater-julius-ceasar.html\">tweeted\u003c/a> a link to a Fox News story that described the production this way: “A New York City play appears to depict President Trump being brutally stabbed to death by women and minorities.”\u003c/p>\n\u003cp>Pointing to the play’s complex characters and consequences, the production’s director, Oskar Eustis, \u003ca href=\"https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/SITP/Julius-Caesar/\">wrote\u003c/a> on the theater’s website, “Julius Caesar can be read as a warning parable to those who try to fight for democracy by undemocratic means. To fight the tyrant does not mean imitating him.”\u003c/p>\n\u003cp>It’s not unusual for productions of very old plays to use modern dress and current political references. A 2012 New York production of \u003cem>Julius Caesar\u003c/em> by The Acting Company was set “at our precise historical moment, in Obama’s Washington, D.C. The capital is rocked by ‘Occupy Rome’ protests,” \u003ca href=\"http://www.theamericanconservative.com/shakesblog/obamas-ides-of-march/\">wrote\u003c/a> Noah Hillman in \u003cem>The American Conservative\u003c/em>, noting that this Caesar was “a tall, charismatic African-American politician; he doesn’t look or sound much like Obama (he more closely recalls Michael Jordan), but the audience is unquestionably going to read him as an Obama stand-in nonetheless.”\u003c/p>\n\u003cp>Gregg Henry, who plays Caesar in the Public Theatre production, made the Trump connection overt. “I have great costumes and wigs that show you that this could be Trump. But I’m also trying to bring in the larger knowledge of tyrants,” he \u003ca href=\"https://www.backstage.com/interview/shakespeare-parks-gregg-henry-playing-very-trumpian-julius-caesar/\">told\u003c/a> \u003cem>Backstage\u003c/em>. “Hopefully, I’m able to sort of show what’s happening with this president, tweak this president for kind of what he is in a lot of ways and also show the dangers of dealing with a tyrant or possible tyrant in our country.”\u003c/p>\n\u003cp>As anyone who knows the play can attest, the killing of Caesar is complicated, and the tragedy has no clear protagonist.\u003c/p>\n\u003cp>“This puts the moral burden where I imagine Mr. Eustis wants it: on the audience,” the \u003cem>Times\u003c/em> wrote in its review. “We are asked to consider how far citizens may go in removing a destructive leader, and we are warned about unforeseen consequences. Dressing Caesar as Trump gives that agenda its juice but leaves the production a bit desiccated and incoherent thereafter. To be fair, this is a problem built into the play, which like all of Shakespeare’s tragedies begins with astonishing rhetoric and ends as an abattoir.”\u003c/p>\n\u003cp>But for Eustis, \u003cem>Caesar\u003c/em>’s ambiguity is a defining factor:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Julius Caesar\u003c/em> is about how fragile democracy is. The institutions that we have grown up with, that we have inherited from the struggle of many generations of our ancestors, can be swept away in no time at all. The difficulty in determining the protagonist of \u003cem>Julius Caesar\u003c/em> — there are at least four credible candidates – is not a formal weakness of the play, but rather essential to its structure. When history is happening, when the ground is slipping away under us and all that is solid melts into air, leadership is as transitory and flawed as the times.”\u003c/p>\n\u003cp>…\u003c/p>\n\u003cp>“And in case you were wondering: no, we didn’t write any new lines. It’s all Shakespeare.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The production, which has been in previews since May 23, opens Monday night. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>\u003c/em>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Delta%2C+BofA+Drop+Support+For+%27Julius+Caesar%27+That+Looks+Too+Much+Like+Trump&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two major corporate sponsors have pulled their support for a New York City production of \u003cem>Julius Caesar. \u003c/em>At issue: The titular role has an unmistakably Trumpian air. And, um, spoiler alert: He gets assassinated.\u003c/p>\n\u003cp>The Julius Caesar in the The Public Theater’s production “has blond hair, a fondness for long ties and a fashionable wife who speaks with a Slavic accent,” as NPR’s Jeff Lunden reports. Conspirators stab him to death on stage, making for some \u003ca href=\"http://www.npr.org/2017/05/31/530799564/kathy-griffin-apologizes-for-disturbing-depiction-of-trumps-head\">Kathy Griffin-like gore\u003c/a>.\u003c/p>\n\u003cp>In the funeral scene, according to a review in the \u003cem>\u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwimv66r67jUAhVGKWMKHfsjC00QFggoMAA&url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F09%2Ftheater%2Freview-julius-caesar-delacorte-theater-donald-trump.html&usg=AFQjCNEzdtUkt6ymWQQjCYbZ8pzPfRu96A&sig2=rJ51KPuoTF5tWmC2b6a_2w\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, “Marc Antony exposes not just Caesar’s sliced-up garment, as Shakespeare indicates, but also his bare, wound-ripped flesh.”\u003c/p>\n\u003cp>Delta and Bank of America both pulled their sponsorship over the production, which has been the target of criticism in recent days from right-leaning outlets such as \u003ca href=\"http://www.breitbart.com/big-hollywood/2017/06/06/trump-stabbed-death-central-park-performance-julius-caesar/\">Breitbart\u003c/a> and \u003ca href=\"http://insider.foxnews.com/2017/06/11/donald-trump-julius-caesar-stabbed-death-women-minorities-shakespeare-central-park\">Fox News\u003c/a>, as well as from President Trump’s son Donald Trump Jr.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No matter what your political stance may be, the graphic staging of \u003cem>Julius Caesar\u003c/em> at this summer’s Free Shakespeare in the Park does not reflect Delta Air Lines’ values,” Delta \u003ca href=\"http://deadline.com/2017/06/delta-airlines-ends-sponsorship-of-public-theater-over-trump-like-julius-caesar-assassination-in-central-park-report-1202111395/\">said in a statement\u003c/a> to Deadline Hollywood.\u003c/p>\n\u003cp>“Their artistic and creative direction crossed the line on the standards of good taste. We have notified them of our decision to end our sponsorship as the official airline of The Public Theater effective immediately.”\u003c/p>\n\u003cp>Bank of America also terminated support for the production, though it will continue its relationship with the theater. “The Public Theater chose to present \u003cem>Julius Caesar\u003c/em> in a way that was intended to provoke and offend,” the bank said in a statement to Deadline. “Had this intention been made known to us, we would have decided not to sponsor it.”\u003c/p>\n\u003cp>\u003cem>The New York Times’\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/09/theater/review-julius-caesar-delacorte-theater-donald-trump.html\">review\u003c/a> says the play “takes onstage Trump-trolling to a startling new level.”\u003c/p>\n\u003cp>On Sunday, Donald Trump Jr. \u003ca href=\"https://twitter.com/DonaldJTrumpJr/status/873916847191724033?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F11%2Farts%2Fdelta-airline-trump-public-theater-julius-ceasar.html\">tweeted\u003c/a> a link to a Fox News story that described the production this way: “A New York City play appears to depict President Trump being brutally stabbed to death by women and minorities.”\u003c/p>\n\u003cp>Pointing to the play’s complex characters and consequences, the production’s director, Oskar Eustis, \u003ca href=\"https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/SITP/Julius-Caesar/\">wrote\u003c/a> on the theater’s website, “Julius Caesar can be read as a warning parable to those who try to fight for democracy by undemocratic means. To fight the tyrant does not mean imitating him.”\u003c/p>\n\u003cp>It’s not unusual for productions of very old plays to use modern dress and current political references. A 2012 New York production of \u003cem>Julius Caesar\u003c/em> by The Acting Company was set “at our precise historical moment, in Obama’s Washington, D.C. The capital is rocked by ‘Occupy Rome’ protests,” \u003ca href=\"http://www.theamericanconservative.com/shakesblog/obamas-ides-of-march/\">wrote\u003c/a> Noah Hillman in \u003cem>The American Conservative\u003c/em>, noting that this Caesar was “a tall, charismatic African-American politician; he doesn’t look or sound much like Obama (he more closely recalls Michael Jordan), but the audience is unquestionably going to read him as an Obama stand-in nonetheless.”\u003c/p>\n\u003cp>Gregg Henry, who plays Caesar in the Public Theatre production, made the Trump connection overt. “I have great costumes and wigs that show you that this could be Trump. But I’m also trying to bring in the larger knowledge of tyrants,” he \u003ca href=\"https://www.backstage.com/interview/shakespeare-parks-gregg-henry-playing-very-trumpian-julius-caesar/\">told\u003c/a> \u003cem>Backstage\u003c/em>. “Hopefully, I’m able to sort of show what’s happening with this president, tweak this president for kind of what he is in a lot of ways and also show the dangers of dealing with a tyrant or possible tyrant in our country.”\u003c/p>\n\u003cp>As anyone who knows the play can attest, the killing of Caesar is complicated, and the tragedy has no clear protagonist.\u003c/p>\n\u003cp>“This puts the moral burden where I imagine Mr. Eustis wants it: on the audience,” the \u003cem>Times\u003c/em> wrote in its review. “We are asked to consider how far citizens may go in removing a destructive leader, and we are warned about unforeseen consequences. Dressing Caesar as Trump gives that agenda its juice but leaves the production a bit desiccated and incoherent thereafter. To be fair, this is a problem built into the play, which like all of Shakespeare’s tragedies begins with astonishing rhetoric and ends as an abattoir.”\u003c/p>\n\u003cp>But for Eustis, \u003cem>Caesar\u003c/em>’s ambiguity is a defining factor:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Julius Caesar\u003c/em> is about how fragile democracy is. The institutions that we have grown up with, that we have inherited from the struggle of many generations of our ancestors, can be swept away in no time at all. The difficulty in determining the protagonist of \u003cem>Julius Caesar\u003c/em> — there are at least four credible candidates – is not a formal weakness of the play, but rather essential to its structure. When history is happening, when the ground is slipping away under us and all that is solid melts into air, leadership is as transitory and flawed as the times.”\u003c/p>\n\u003cp>…\u003c/p>\n\u003cp>“And in case you were wondering: no, we didn’t write any new lines. It’s all Shakespeare.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The production, which has been in previews since May 23, opens Monday night. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>\u003c/em>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Delta%2C+BofA+Drop+Support+For+%27Julius+Caesar%27+That+Looks+Too+Much+Like+Trump&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Grandeur' Misses the Haunted Splendor of Gil Scott-Heron",
"headTitle": "‘Grandeur’ Misses the Haunted Splendor of Gil Scott-Heron | KQED",
"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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"title": "'Grandeur' Misses the Haunted Splendor of Gil Scott-Heron | KQED",
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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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"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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"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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"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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"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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"title": "Cole Porter's Pro-Immigration Ballet Gets a Trump-Era Revival",
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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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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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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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