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"content": "\u003cp>Robert Kelley, the founding artistic director of \u003ca href=\"http://www.TheatreWorks.org\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreWorks Silicon Valley\u003c/a>, a professional performing arts organization specializing in new works for the musical theater stage, has announced he will retire at the end of the company’s 50th season, in 2020.\u003c/p>\n\u003cp>“I’ve been here for a long time,” Kelley says. “The half-century mark is a really great time to change over, and a great time to bring in some new leadership for the company.”\u003c/p>\n\u003cp>Kelley, 70, is one of the longest tenured artistic directors of a professional regional theater organization in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13207858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13207858 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Popcorn_1970-800x450.jpg\" alt=\"Popcorn, an anti-war musical which premiered in July 1970, was the very first production of TheatreWorks Silicon Valley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Popcorn, an anti-war musical which premiered in July 1970, was the very first production of TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the behest of the city of Palo Alto, Kelley launched the company as an experimental youth troupe in 1970, a couple of years after he graduated from Stanford. Today, TheatreWorks is one of the largest theater companies in the Bay Area, together with American Conservatory Theater (ACT) and Berkeley Repertory Theatre. With an $8.5 million annual budget, the non-profit organization presents five productions each season in Mountain View and three in Palo Alto.\u003c/p>\n\u003cp>“I still very much love making theater,” Kelley says. “I hope I’ll continue with the company in lots of different ways — as a director, as a cheerleader, and in any way that our new leadership wants to use me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>TheatreWorks’ board will begin a national search for Kelley’s successor this year, with the intention of having a new artistic director in place as his final season begins.\u003c/p>\n\u003cp>Over the years, TheatreWorks has become a launchpad for national hits\u003cem>. \u003c/em>One of the most significant is \u003cem>Memphis\u003c/em>, which went from its start at TheatreWorks in 2002 to a three-year run on Broadway, a 19-month national tour, and an extended run in London’s West End. Loosely based on the life of one of the first white DJs to play black music in the 1950s, \u003cem>Memphis\u003c/em> won four Tonys in 2010, including one for Best Musical.\u003c/p>\n\u003cfigure id=\"attachment_13206784\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13206784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-800x450.jpg\" alt='TheatreWorks Silicon Valley Founding Artistic Director Robert Kelley with the composer of \"Memphis\" and Bon Jovi keyboardist David Bryan at the Broadway opening night, October 19, 2009.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TheatreWorks Silicon Valley Founding Artistic Director Robert Kelley with the composer of “Memphis” and Bon Jovi keyboardist David Bryan at the Broadway opening night, October 19, 2009. \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelley also cast dozens of young actors who went on to major careers on Broadway and in Hollywood. These include Jessica Chastain (\u003cem>Zero Dark Thirty, The Martian, The Help\u003c/em>), James Monroe Iglehart (\u003cem>Aladdin, Hamilton\u003c/em>), Daveed Diggs (\u003cem>Hamilton\u003c/em>), Colman Domingo (\u003cem>The Scottsboro Boys, Selma\u003c/em>), Željko Ivanek (\u003cem>Damages, \u003c/em>\u003cem>Madam Secretary)\u003c/em>, and Francis Jue (\u003cem>Yellow Face, \u003c/em>\u003cem>Madam Secretary).\u003c/em>\u003c/p>\n\u003cp>“I love working with other artists and collaborating with people from all over the country,” Kelley says. “We’ve really found that a lot of people who’ve come here are eager to come back.” Iglehart and Jue are among those who’ve returned to TheatreWorks over the years.\u003c/p>\n\u003cp>With its New Works Festival and Writers’ Retreat, TheatreWorks has also helped foster some major writing talents, including Wendy Wasserstein, Marsha Norman, Joe DiPietro and Beth Henley.\u003c/p>\n\u003cfigure id=\"attachment_13207859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13207859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-800x451.jpg\" alt=\"As artistic director of TheatreWorks, Robert Kelley has programmed a diverse roster of original dramas and musicals. Brad Erickson, head of the Theatre Bay Area, says Kelley's programming draws in audiences, "but also stretches them."\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As artistic director of TheatreWorks, Robert Kelley has programmed a diverse roster of original dramas and musicals. Brad Erickson, head of the Theatre Bay Area, says Kelley’s programming draws in audiences, “but also stretches them.” \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was so passionate and committed to the community from the get-go,” says Carey Perloff, who is stepping down from her role as longtime artistic director of ACT at the end of next season. “It’s an audience with such an appetite for adventure. So that tells you who’s here, and how hungry they are. I think the leadership has led the audience, and the audience has led the leadership.”\u003c/p>\n\u003cp>Kelley has directed more than 170 productions for TheatreWorks during his tenure, and won the San Francisco Bay Area Critics Circle Award for Outstanding Direction nine times\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“His story is the quintessential Silicon Valley origin story,” says Brad Erickson, head of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>, a regional performing arts service organization. “It’s the theater version of creating Hewlett-Packard in a garage. He came out of Stanford. He starts this small company. He sticks with it, and some years later, it’s now not only one of the leading companies in the Bay Area, but one of the leading companies in the country, doing world-class work and affecting the whole American canon.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Kelley, the founding artistic director of \u003ca href=\"http://www.TheatreWorks.org\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreWorks Silicon Valley\u003c/a>, a professional performing arts organization specializing in new works for the musical theater stage, has announced he will retire at the end of the company’s 50th season, in 2020.\u003c/p>\n\u003cp>“I’ve been here for a long time,” Kelley says. “The half-century mark is a really great time to change over, and a great time to bring in some new leadership for the company.”\u003c/p>\n\u003cp>Kelley, 70, is one of the longest tenured artistic directors of a professional regional theater organization in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13207858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13207858 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Popcorn_1970-800x450.jpg\" alt=\"Popcorn, an anti-war musical which premiered in July 1970, was the very first production of TheatreWorks Silicon Valley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Popcorn, an anti-war musical which premiered in July 1970, was the very first production of TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the behest of the city of Palo Alto, Kelley launched the company as an experimental youth troupe in 1970, a couple of years after he graduated from Stanford. Today, TheatreWorks is one of the largest theater companies in the Bay Area, together with American Conservatory Theater (ACT) and Berkeley Repertory Theatre. With an $8.5 million annual budget, the non-profit organization presents five productions each season in Mountain View and three in Palo Alto.\u003c/p>\n\u003cp>“I still very much love making theater,” Kelley says. “I hope I’ll continue with the company in lots of different ways — as a director, as a cheerleader, and in any way that our new leadership wants to use me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>TheatreWorks’ board will begin a national search for Kelley’s successor this year, with the intention of having a new artistic director in place as his final season begins.\u003c/p>\n\u003cp>Over the years, TheatreWorks has become a launchpad for national hits\u003cem>. \u003c/em>One of the most significant is \u003cem>Memphis\u003c/em>, which went from its start at TheatreWorks in 2002 to a three-year run on Broadway, a 19-month national tour, and an extended run in London’s West End. Loosely based on the life of one of the first white DJs to play black music in the 1950s, \u003cem>Memphis\u003c/em> won four Tonys in 2010, including one for Best Musical.\u003c/p>\n\u003cfigure id=\"attachment_13206784\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13206784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-800x450.jpg\" alt='TheatreWorks Silicon Valley Founding Artistic Director Robert Kelley with the composer of \"Memphis\" and Bon Jovi keyboardist David Bryan at the Broadway opening night, October 19, 2009.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TheatreWorks Silicon Valley Founding Artistic Director Robert Kelley with the composer of “Memphis” and Bon Jovi keyboardist David Bryan at the Broadway opening night, October 19, 2009. \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelley also cast dozens of young actors who went on to major careers on Broadway and in Hollywood. These include Jessica Chastain (\u003cem>Zero Dark Thirty, The Martian, The Help\u003c/em>), James Monroe Iglehart (\u003cem>Aladdin, Hamilton\u003c/em>), Daveed Diggs (\u003cem>Hamilton\u003c/em>), Colman Domingo (\u003cem>The Scottsboro Boys, Selma\u003c/em>), Željko Ivanek (\u003cem>Damages, \u003c/em>\u003cem>Madam Secretary)\u003c/em>, and Francis Jue (\u003cem>Yellow Face, \u003c/em>\u003cem>Madam Secretary).\u003c/em>\u003c/p>\n\u003cp>“I love working with other artists and collaborating with people from all over the country,” Kelley says. “We’ve really found that a lot of people who’ve come here are eager to come back.” Iglehart and Jue are among those who’ve returned to TheatreWorks over the years.\u003c/p>\n\u003cp>With its New Works Festival and Writers’ Retreat, TheatreWorks has also helped foster some major writing talents, including Wendy Wasserstein, Marsha Norman, Joe DiPietro and Beth Henley.\u003c/p>\n\u003cfigure id=\"attachment_13207859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13207859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-800x451.jpg\" alt=\"As artistic director of TheatreWorks, Robert Kelley has programmed a diverse roster of original dramas and musicals. Brad Erickson, head of the Theatre Bay Area, says Kelley's programming draws in audiences, "but also stretches them."\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As artistic director of TheatreWorks, Robert Kelley has programmed a diverse roster of original dramas and musicals. Brad Erickson, head of the Theatre Bay Area, says Kelley’s programming draws in audiences, “but also stretches them.” \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was so passionate and committed to the community from the get-go,” says Carey Perloff, who is stepping down from her role as longtime artistic director of ACT at the end of next season. “It’s an audience with such an appetite for adventure. So that tells you who’s here, and how hungry they are. I think the leadership has led the audience, and the audience has led the leadership.”\u003c/p>\n\u003cp>Kelley has directed more than 170 productions for TheatreWorks during his tenure, and won the San Francisco Bay Area Critics Circle Award for Outstanding Direction nine times\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“His story is the quintessential Silicon Valley origin story,” says Brad Erickson, head of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>, a regional performing arts service organization. “It’s the theater version of creating Hewlett-Packard in a garage. He came out of Stanford. He starts this small company. He sticks with it, and some years later, it’s now not only one of the leading companies in the Bay Area, but one of the leading companies in the country, doing world-class work and affecting the whole American canon.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "92-Year-Old Theatrical Rebel Peter Brook Rages with 'Battlefield'",
"headTitle": "92-Year-Old Theatrical Rebel Peter Brook Rages with ‘Battlefield’ | KQED",
"content": "\u003cp>Director Peter Brook’s \u003cem>Battlefield\u003c/em> is filled with all the magic, strangeness, bad thinking, revelatory moments, and daring you might expect from a 92-year old theatrical rebel and avant-garde showman who has seen the world change over and over again. Adapted from Jean-Claude Carriere’s retelling of the ancient Indian epic \u003cem>The Mahabharata\u003c/em>, the show is full of brilliance and a few false steps, and that’s what makes it a joyful, fascinating piece of theater.\u003c/p>\n\u003cp>We begin in the aftermath of battle, and rival leaders of a civil war of impossible scope — the victorious Yudishtira (Jared McNeil) and his uncle, the conquered Dritarashtra (Sean O’Callaghan) — survey the destruction before them: “Seven hundred million and two hundred and sixty-seven soldiers have died,” Dritarashtra says\u003cb>, \u003c/b>as if precision were a balm for disaster.\u003c/p>\n\u003cfigure id=\"attachment_13187474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13187474 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-800x472.jpg\" alt=\"Everything is a mystery to Yudishtira (Jared McNeil), far left, as he contemplates one of the many strange events that occur in his life in 'Battlefield' directed by Peter Brook and Marie-Hélène Estienne.\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-520x307.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Everything is a mystery to Yudishtira (Jared McNeil), far left, as he contemplates one of the many strange events that occur in his life in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Caroline Moreau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The power of these scenes of realization and regret isn’t so much the ridiculous level of tragedy before these men, but rather their affectless demeanor. Neither seems capable of enacting the emotions that they so obviously feel. The world they knew before the war is gone, and with it the individuals they once were.\u003c/p>\n\u003cp>Faced with the carnage of his own making, Yudishtira wants nothing more than to escape and reject the identity of king he so viciously fought for. And so from that moment on, we follow his journey in an attempt to understand not who he is, but what he may become.\u003c/p>\n\u003cp>Here is a man who was violently tied to the world and the self, and we now have the privilege of watching him become something else, a different kind of consciousness. It’s a strange and unsettling experience and a feat of daring that Brook and his co-director Marie-Hélène Estienne don’t quite maintain through the rich but uneven 70 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13187478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13187478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-800x450.jpg\" alt=\"(Sitting L to R) Yudishtra (Jared McNeil), Dritarashtra (Sean O'Callaghan), Bishma (Ery Nzaramba) listen to Kunti (Carole Karemera) tell a story in 'Battlefield' directed by Peter Brook and Marie-Hélène.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Sitting L to R) Yudishtra (Jared McNeil), Dritarashtra (Sean O’Callaghan), Bishma (Ery Nzaramba) listen to Kunti (Carole Karemera) tell a story in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Pascal Victor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the rare theater work that is at its best when it fails to directly engage the audience, and one of the central pleasures of \u003cem>Battlefield\u003c/em> is how casually the astounding cast plays these opening scenes. The narrative bristles with an excess of melodrama that Brook and Estienne keep at a distance — the carnage of war, a brother found and lost, a mother with secrets, a villain of stunning kindness, and Gods with no answers but to accept what fate brings. We can contemplate what has happened to these people, but we cannot pretend to feel as they do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Mahabharata\u003c/em>’s odd sense of chronology and the directors’ handling of it also contributes in a unsettling way to our sense of estrangement. Huge jumps in time simply happen: “Fifteen years had passed when one day Yudishtira discovered that his uncle was fasting and sleeping on the ground.” It’s a pedestrian line off-handedly delivered by Ery Nzaramba as the shapeshifting narrator, yet the effect is mind-altering. And the actors make it more so by doing nothing to signal that they’ve aged decades in a moment — they’re playing to the soul rather than the outward body.\u003c/p>\n\u003cfigure id=\"attachment_13187482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13187482\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-800x449.jpg\" alt=\"\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yudishtira (Jared McNeill) keeps on changing from moment to moment in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Caroline Moreau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You feel these temporal shifts with a shock of recognition; large chunks of our lives just don’t matter and we are left essentially unchanged. All of Yudishtira’s fine peacetime leadership slips by in a sentence or two. It is only events that undo the fabric of the everyday that are worth noting.\u003c/p>\n\u003cp>Where the production loses momentum is when it turns conventionally dramatic, especially in a series of cute and cloying scenes where the cast acts out a series of parables related by Youdishtira’s dying grandfather, Bishma, to his grandson. In a piece that attempts to shear away excess — the set is a rectangle of endless black — this interlude upsets the radical sense of detachment that courses through most of the evening.\u003c/p>\n\u003cp>Yet Brook and Estienne manage to change the nature of the dramatic in \u003cem>Battlefield\u003c/em>. We don’t feel the build up to action and its cathartic release; instead, something happens and we are suddenly confronted with a new world, and, even more shockingly, new selves.\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>‘Battlefield’ runs through Sunday, May 25 at the Geary Theater in San Francisco. For tickets and information \u003ca href=\"http://act-sf.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director Peter Brook’s \u003cem>Battlefield\u003c/em> is filled with all the magic, strangeness, bad thinking, revelatory moments, and daring you might expect from a 92-year old theatrical rebel and avant-garde showman who has seen the world change over and over again. Adapted from Jean-Claude Carriere’s retelling of the ancient Indian epic \u003cem>The Mahabharata\u003c/em>, the show is full of brilliance and a few false steps, and that’s what makes it a joyful, fascinating piece of theater.\u003c/p>\n\u003cp>We begin in the aftermath of battle, and rival leaders of a civil war of impossible scope — the victorious Yudishtira (Jared McNeil) and his uncle, the conquered Dritarashtra (Sean O’Callaghan) — survey the destruction before them: “Seven hundred million and two hundred and sixty-seven soldiers have died,” Dritarashtra says\u003cb>, \u003c/b>as if precision were a balm for disaster.\u003c/p>\n\u003cfigure id=\"attachment_13187474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13187474 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-800x472.jpg\" alt=\"Everything is a mystery to Yudishtira (Jared McNeil), far left, as he contemplates one of the many strange events that occur in his life in 'Battlefield' directed by Peter Brook and Marie-Hélène Estienne.\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-520x307.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Everything is a mystery to Yudishtira (Jared McNeil), far left, as he contemplates one of the many strange events that occur in his life in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Caroline Moreau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The power of these scenes of realization and regret isn’t so much the ridiculous level of tragedy before these men, but rather their affectless demeanor. Neither seems capable of enacting the emotions that they so obviously feel. The world they knew before the war is gone, and with it the individuals they once were.\u003c/p>\n\u003cp>Faced with the carnage of his own making, Yudishtira wants nothing more than to escape and reject the identity of king he so viciously fought for. And so from that moment on, we follow his journey in an attempt to understand not who he is, but what he may become.\u003c/p>\n\u003cp>Here is a man who was violently tied to the world and the self, and we now have the privilege of watching him become something else, a different kind of consciousness. It’s a strange and unsettling experience and a feat of daring that Brook and his co-director Marie-Hélène Estienne don’t quite maintain through the rich but uneven 70 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13187478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13187478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-800x450.jpg\" alt=\"(Sitting L to R) Yudishtra (Jared McNeil), Dritarashtra (Sean O'Callaghan), Bishma (Ery Nzaramba) listen to Kunti (Carole Karemera) tell a story in 'Battlefield' directed by Peter Brook and Marie-Hélène.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Sitting L to R) Yudishtra (Jared McNeil), Dritarashtra (Sean O’Callaghan), Bishma (Ery Nzaramba) listen to Kunti (Carole Karemera) tell a story in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Pascal Victor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the rare theater work that is at its best when it fails to directly engage the audience, and one of the central pleasures of \u003cem>Battlefield\u003c/em> is how casually the astounding cast plays these opening scenes. The narrative bristles with an excess of melodrama that Brook and Estienne keep at a distance — the carnage of war, a brother found and lost, a mother with secrets, a villain of stunning kindness, and Gods with no answers but to accept what fate brings. We can contemplate what has happened to these people, but we cannot pretend to feel as they do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mahabharata\u003c/em>’s odd sense of chronology and the directors’ handling of it also contributes in a unsettling way to our sense of estrangement. Huge jumps in time simply happen: “Fifteen years had passed when one day Yudishtira discovered that his uncle was fasting and sleeping on the ground.” It’s a pedestrian line off-handedly delivered by Ery Nzaramba as the shapeshifting narrator, yet the effect is mind-altering. And the actors make it more so by doing nothing to signal that they’ve aged decades in a moment — they’re playing to the soul rather than the outward body.\u003c/p>\n\u003cfigure id=\"attachment_13187482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13187482\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-800x449.jpg\" alt=\"\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yudishtira (Jared McNeill) keeps on changing from moment to moment in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Caroline Moreau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You feel these temporal shifts with a shock of recognition; large chunks of our lives just don’t matter and we are left essentially unchanged. All of Yudishtira’s fine peacetime leadership slips by in a sentence or two. It is only events that undo the fabric of the everyday that are worth noting.\u003c/p>\n\u003cp>Where the production loses momentum is when it turns conventionally dramatic, especially in a series of cute and cloying scenes where the cast acts out a series of parables related by Youdishtira’s dying grandfather, Bishma, to his grandson. In a piece that attempts to shear away excess — the set is a rectangle of endless black — this interlude upsets the radical sense of detachment that courses through most of the evening.\u003c/p>\n\u003cp>Yet Brook and Estienne manage to change the nature of the dramatic in \u003cem>Battlefield\u003c/em>. We don’t feel the build up to action and its cathartic release; instead, something happens and we are suddenly confronted with a new world, and, even more shockingly, new selves.\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>‘Battlefield’ runs through Sunday, May 25 at the Geary Theater in San Francisco. For tickets and information \u003ca href=\"http://act-sf.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Electronica-Infused Steve Jobs Opera to Come to SF",
"headTitle": "Electronica-Infused Steve Jobs Opera to Come to SF | KQED",
"content": "\u003cp>Since passing away from cancer in 2011, Steve Jobs has been the subject of several films and books. Now the Grammy-nominated, Bay Area-based symphonic composer and electronic dance music DJ \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mason Bates\u003c/a> is bringing the Silicon Valley entrepreneur back to life in a new opera.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/05/SteveJobsOpera20170510.mp3\" title=\"Electronica-Infused Steve Jobs Opera to Come to SF\" program=\"KQED Arts\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/steve-jobs1_wide-189bfbb5ba872c6d11f5186c33626fbcfeeac46d-800x450.jpg\"]\u003c/p>\n\u003cp>Based on Walter Isaacson’s 2011 biography of Steve Jobs,\u003cem> The (R)evolution of Steve Jobs\u003c/em> is Bates’ first full-length work for the opera stage. It’s an unconventional piece, packed with computer-generated sounds and a time-frame that jumps back and forth between episodes in Jobs’ life.\u003c/p>\n\u003cfigure id=\"attachment_13194437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg\" alt=\"Bay Area composer Mason Bates, the force behind a new opers about Steve Jobe premiering at Santa Fe Opera this summer, San Francisco Opera is a co-producer and is expecting to mount the work in its 2019-2020 season.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area composer Mason Bates, the force behind a new opera about Steve Jobs premiering at Santa Fe Opera this summer, San Francisco Opera is a co-producer and is expecting to mount the work in its 2019-2020 season. \u003ccite>(Photo: Todd Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Opera is the best medium to tell the story of Steve Jobs, because opera can do what no book or movie can do — it can present the different inner thoughts and feelings of characters simultaneously by having different musics happening at the same time,” Bates says. “This is the perfect vehicle for exploring the life of a man who changed the way we communicate.”\u003c/p>\n\u003cp>\u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cal Performances\u003c/a> (the performing arts presenter at U.C. Berkeley) and the \u003ca href=\"http://sfcm.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Conservatory of Music\u003c/a> (SFCM) helped birth the project by underwriting two workshops of the opera with $100,000 in development support. Following the success of the last workshop, which was held at SFCM last fall, \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/steve-jobs-opera/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> (SF Opera) came on board as a co-commissioner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">SF Opera’s general director, Matthew Shilvock, was initially skeptical about the project. “Steve Jobs is not just an iconic figure, he’s part of who we are in the Bay Area, and I was concerned to make sure it was a piece that would have a real resonance,” Shilvock says. “But after attending the w\u003c/span>orkshop at the San Francisco Conservatory, I felt that this was the right piece for San Francisco.”\u003c/p>\n\u003cp>The company announced Tuesday its plan to bring \u003cem>The (R)evolution of Steve Jobs\u003c/em> to the War Memorial Opera House during its 2019-2020 season. But audiences can catch it sooner than that, at \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Fe Opera\u003c/a> in New Mexico, where it will received its world premiere in July.\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>The (R)evolution of Steve Jobs \u003c/em>runs Saturday, Jul. 22 through Tuesday, Aug. 15 at Santa Fe Opera in Santa Fe, New Mexico. Tickets and information \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Based on Walter Isaacson’s 2011 biography of Steve Jobs,\u003cem> The (R)evolution of Steve Jobs\u003c/em> is Bates’ first full-length work for the opera stage. It’s an unconventional piece, packed with computer-generated sounds and a time-frame that jumps back and forth between episodes in Jobs’ life.\u003c/p>\n\u003cfigure id=\"attachment_13194437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg\" alt=\"Bay Area composer Mason Bates, the force behind a new opers about Steve Jobe premiering at Santa Fe Opera this summer, San Francisco Opera is a co-producer and is expecting to mount the work in its 2019-2020 season.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area composer Mason Bates, the force behind a new opera about Steve Jobs premiering at Santa Fe Opera this summer, San Francisco Opera is a co-producer and is expecting to mount the work in its 2019-2020 season. \u003ccite>(Photo: Todd Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Opera is the best medium to tell the story of Steve Jobs, because opera can do what no book or movie can do — it can present the different inner thoughts and feelings of characters simultaneously by having different musics happening at the same time,” Bates says. “This is the perfect vehicle for exploring the life of a man who changed the way we communicate.”\u003c/p>\n\u003cp>\u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cal Performances\u003c/a> (the performing arts presenter at U.C. Berkeley) and the \u003ca href=\"http://sfcm.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Conservatory of Music\u003c/a> (SFCM) helped birth the project by underwriting two workshops of the opera with $100,000 in development support. Following the success of the last workshop, which was held at SFCM last fall, \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/steve-jobs-opera/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> (SF Opera) came on board as a co-commissioner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">SF Opera’s general director, Matthew Shilvock, was initially skeptical about the project. “Steve Jobs is not just an iconic figure, he’s part of who we are in the Bay Area, and I was concerned to make sure it was a piece that would have a real resonance,” Shilvock says. “But after attending the w\u003c/span>orkshop at the San Francisco Conservatory, I felt that this was the right piece for San Francisco.”\u003c/p>\n\u003cp>The company announced Tuesday its plan to bring \u003cem>The (R)evolution of Steve Jobs\u003c/em> to the War Memorial Opera House during its 2019-2020 season. But audiences can catch it sooner than that, at \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Fe Opera\u003c/a> in New Mexico, where it will received its world premiere in July.\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>The (R)evolution of Steve Jobs \u003c/em>runs Saturday, Jul. 22 through Tuesday, Aug. 15 at Santa Fe Opera in Santa Fe, New Mexico. Tickets and information \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and Gabe's Picks: A Rapper on a Journey, Raining Banjos, and a Farewell",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and Gabe Meline share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our entertainment cup spills over this week with stuff we couldn’t quite fit on the show. Smuin Ballet finishes its season with a world premiere by choreographer Trey McIntyre and a piece by the Bay Area’s Amy Siewert — details for the show are \u003ca href=\"http://www.smuinballet.org/buy-tickets-201617-season/dance-series-02/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Also, the brilliant clarinetist \u003ca href=\"https://www.anatcohen.com/\" target=\"_blank\" rel=\"noopener\">Anat Cohen\u003c/a> does a string of shows at \u003ca href=\"https://www.sfjazz.org/events/2016-17/0505/mary-stallings\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, Santa Cruz’s \u003ca href=\"http://kuumbwajazz.ticketfly.com/event/1451110-anat-cohen-trio-brasileiro-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Kuumbwa\u003c/a>, and San Jose’s Cafe Stritch. Details for those shows are \u003ca href=\"https://www.anatcohen.com/schedule/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And now, onto the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?list=PL_C6KeCoAO6PG1vIKN0l7qppM-5QUX3Xo&v=-DgIqy7u-GU\u003c/p>\n\u003cp>\u003cstrong>May 7 – Oct. 29\u003c/strong>: The \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena G\u003c/a>\u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">arden Festival\u003c/a> takes its civic responsibilities seriously, with a terrific lineup of free (\u003cstrong>CHEAP THRILL!\u003c/strong>) Sunday afternoon shows from now till the fall. Arturo O’Farrill and the Afro Latin Jazz Orchestra kicks things off with its danceable rhythms, and look for Kitka Women’s Vocal Ensemble, Michael Doucet and Tom Rigney with Flambeau, Circus Bella, Linda Tillery, AXIS Dance Company and many others in the weeks to come. And looking ahead, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove \u003c/a>opens its free concert season June 25 with Kool and the Gang, and Quinn Deveaux. We are so lucky. Details for the Yerba Buena Garden Festival are \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13160782\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13160782 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg\" alt=\"A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7\" width=\"750\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-520x364.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7 \u003ccite>(Photo: Courtesy of Wendy Goldberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 6 – May 21\u003c/strong>: Two more free events are the Marin and Silicon Valley Open Studios. This is a chance to hang out with some of the best artists in the Bay Area, and as Gabe noted, we’re all excited about farm to table food in the Bay Area. How about artist studio direct to your living room wall. If we want artists to live and thrive in the Bay Area, we’d better be willing to buy their art. Details for Marin Open Studios this weekend are \u003ca href=\"https://marinopenstudios.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Silicon Valley Open Studios is a bit more complicated, with three weekends featuring different towns. Details are \u003ca href=\"http://www.svos.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=88_jAJ-MduU\u003c/p>\n\u003cp>\u003cstrong>May 7\u003c/strong>: D.C.’s Amir Mohamed el Khalifa is also known as Oddisee, and on his new album, \u003cem>The Iceberg,\u003c/em> he’s rapping over a trio of live musicians that’s got a 50’s Blue Note jazz vibe. Oddisee told SF Weekly he doesn’t like the term “conscious rap,” but it’s the best way to describe his lyrics, which are influenced by Eric B. & Rakim, A Tribe Called Quest and others. His new album’s title is in reference to the phrase “tip of the iceberg” because there’s more there than you can see at first. Gabe compared him to Chance the Rapper, and we both think he’s terrific. Details for Oddisee’s show at the Regency Ballroom in San Francisco are \u003ca href=\"http://www.theregencyballroom.com/events/detail/329546\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2cxnzcsHuKM\u003c/p>\n\u003cp>\u003cstrong>Continuing through May 7: \u003c/strong>I’m doing a bit of compare and contrast here for two solo shows. \u003ca href=\"http://www.complicite.org/index.php\" target=\"_blank\" rel=\"noopener\">Simon McBurney\u003c/a> is getting a lot of attention for his one man play, \u003cem>The Encounter,\u003c/em> at the Curran in San Francisco. McBurney brilliantly transports the audience deep into the Amazon jungle on an existential journey with a \u003ca href=\"http://www.nationalgeographic.com/magazine/plus/lost-and-found/amazon-encounter-explorer-photographer/\" target=\"_blank\" rel=\"noopener\">National Geographic photographer \u003c/a>using binaural sound technology that puts his voice right inside the heads of the headphone wearing audience. There’s some great moments early on, and the technology is a wonder, but the storytelling falls a bit flat well before the end, and I was left wondering if the audio gadgetry just gets in McBurney’s way. Its run ends on Sunday. Details \u003ca href=\"https://sfcurran.com/shows/the-encounter\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qId01X0MxLI\u003c/p>\n\u003cp>\u003cstrong>Continuing through May 27:\u003c/strong> Meanwhile, across the Bay, \u003ca href=\"https://www.revealnews.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reveal\u003c/em>\u003c/a> host \u003ca href=\"http://revealradio.org/about/about-the-host/\" target=\"_blank\" rel=\"noopener\">Al Letson\u003c/a> is performing his one man show \u003cem>Summer in Sanctuary\u003c/em>, which is about teaching creative writing to a group of poor, mostly black kids at a summer camp. Letson tells his story with nothing more than a couple of slides, his lyrical poems, and by channeling the kids themselves. Yet Letson takes us far deeper than McBurney does into his story, and he does it with more heart. Details for \u003cem>Summer in Sanctuary\u003c/em> at the Marsh in Berkeley are \u003ca href=\"https://themarsh.org/summer_sanctuary/al-letson-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YPPXQTef1hY\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: If San Francisco’s \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener\">LGBT Pride Parade\u003c/a> has a soundtrack, a lot of people might assume it’s got a disco beat. But this year, the parade will get a dose of bluegrass twang. \u003ca href=\"https://www.cbaweb.org/\" target=\"_blank\" rel=\"noopener\">The California Bluegrass Association\u003c/a> is sponsoring a float, and there’s a fundraiser on Friday to pay for it. Ted Kuster and fiddle player Brandon Godman (once fired from a bluegrass band because he was gay) talked the association into the effort, despite the fact that some thought the parade is too political. “I’ve always joked,” Godman told me the other day, “that when I came out of the closet I didn’t throw away my Bill Monroe CD’s and replace him with Beyoncé. I grew up listening to fiddle playing on cassette tapes, and I was that geek. And I’ll probably never change. So for me that’s the victory. Dispelling that myth of bluegrass doesn’t fit into a box, LGBTQ doesn’t fit into a box. Stop trying to put people in boxes.” There’s a terrific lineup for this show that includes Kathy Kallick, Laurie Lewis, Tom Rozum, Molly Tuttle Godman (who plays a mean fiddle) and others. As Gabe said, it’s raining banjos. Details \u003ca href=\"http://www.ashkenaz.com/eventcalendar/2017/5/5/bluegrass-pride-featuring-kathy-kallick-molly-tuttle-thompsonia-tom-bekeny-and-more\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7ReW0jJkag8\u003c/p>\n\u003cp>\u003cstrong>May 9:\u003c/strong> We had just time for Gabe to do a shoutout for \u003ca href=\"http://pjharvey.net/\" target=\"_blank\" rel=\"noopener\">PJ Harvey\u003c/a>, who doesn’t tour very often, but is a massive talent. She’s at the Masonic in San Francisco, and Gabe was surprised to find the show hadn’t sold out, so we couldn’t resist featuring it as well. Details for PJ Harvey at the Masonic are \u003ca href=\"http://sfmasonic.com/event/pj-harvey/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13161481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13161481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg\" alt=\"David Wiegand co-hosting a Do List Live event at the Chapel in 2015\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-960x560.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Wiegand co-hosting a Do List Live event at the Chapel in 2015 \u003ccite>(Photo: Courtesy of KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have the sad duty of saying goodbye to my co-host David Wiegand. He’s left the Do List after an amazing run. David, producer \u003ca href=\"http://www.kqed.org/radio/about/staff/suzie-racho.jsp\" target=\"_blank\" rel=\"noopener\">Suzie Racho\u003c/a> and I co-created The Do List nine years ago, and David’s been the rock on which we’ve built this show. He’s always had a keen eye for great art, whether it was challenging as hell, or made us cry, or just brought us joy and laughter. You can still find \u003ca href=\"http://www.sfchronicle.com/author/david-wiegand/\" target=\"_blank\" rel=\"noopener\">David in the Datebook\u003c/a> section of the San Francisco Chronicle. That being said — David, thanks a lot for all the good radio.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"Q.Logo_.Break_-400x39\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and Gabe Meline share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our entertainment cup spills over this week with stuff we couldn’t quite fit on the show. Smuin Ballet finishes its season with a world premiere by choreographer Trey McIntyre and a piece by the Bay Area’s Amy Siewert — details for the show are \u003ca href=\"http://www.smuinballet.org/buy-tickets-201617-season/dance-series-02/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Also, the brilliant clarinetist \u003ca href=\"https://www.anatcohen.com/\" target=\"_blank\" rel=\"noopener\">Anat Cohen\u003c/a> does a string of shows at \u003ca href=\"https://www.sfjazz.org/events/2016-17/0505/mary-stallings\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, Santa Cruz’s \u003ca href=\"http://kuumbwajazz.ticketfly.com/event/1451110-anat-cohen-trio-brasileiro-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Kuumbwa\u003c/a>, and San Jose’s Cafe Stritch. Details for those shows are \u003ca href=\"https://www.anatcohen.com/schedule/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And now, onto 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/-DgIqy7u-GU'\n title='//www.youtube.com/embed/-DgIqy7u-GU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 7 – Oct. 29\u003c/strong>: The \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena G\u003c/a>\u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">arden Festival\u003c/a> takes its civic responsibilities seriously, with a terrific lineup of free (\u003cstrong>CHEAP THRILL!\u003c/strong>) Sunday afternoon shows from now till the fall. Arturo O’Farrill and the Afro Latin Jazz Orchestra kicks things off with its danceable rhythms, and look for Kitka Women’s Vocal Ensemble, Michael Doucet and Tom Rigney with Flambeau, Circus Bella, Linda Tillery, AXIS Dance Company and many others in the weeks to come. And looking ahead, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove \u003c/a>opens its free concert season June 25 with Kool and the Gang, and Quinn Deveaux. We are so lucky. Details for the Yerba Buena Garden Festival are \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13160782\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13160782 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg\" alt=\"A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7\" width=\"750\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-520x364.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7 \u003ccite>(Photo: Courtesy of Wendy Goldberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 6 – May 21\u003c/strong>: Two more free events are the Marin and Silicon Valley Open Studios. This is a chance to hang out with some of the best artists in the Bay Area, and as Gabe noted, we’re all excited about farm to table food in the Bay Area. How about artist studio direct to your living room wall. If we want artists to live and thrive in the Bay Area, we’d better be willing to buy their art. Details for Marin Open Studios this weekend are \u003ca href=\"https://marinopenstudios.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Silicon Valley Open Studios is a bit more complicated, with three weekends featuring different towns. Details are \u003ca href=\"http://www.svos.org/\" target=\"_blank\" rel=\"noopener\">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/88_jAJ-MduU'\n title='//www.youtube.com/embed/88_jAJ-MduU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 7\u003c/strong>: D.C.’s Amir Mohamed el Khalifa is also known as Oddisee, and on his new album, \u003cem>The Iceberg,\u003c/em> he’s rapping over a trio of live musicians that’s got a 50’s Blue Note jazz vibe. Oddisee told SF Weekly he doesn’t like the term “conscious rap,” but it’s the best way to describe his lyrics, which are influenced by Eric B. & Rakim, A Tribe Called Quest and others. His new album’s title is in reference to the phrase “tip of the iceberg” because there’s more there than you can see at first. Gabe compared him to Chance the Rapper, and we both think he’s terrific. Details for Oddisee’s show at the Regency Ballroom in San Francisco are \u003ca href=\"http://www.theregencyballroom.com/events/detail/329546\" target=\"_blank\" rel=\"noopener\">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/2cxnzcsHuKM'\n title='//www.youtube.com/embed/2cxnzcsHuKM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through May 7: \u003c/strong>I’m doing a bit of compare and contrast here for two solo shows. \u003ca href=\"http://www.complicite.org/index.php\" target=\"_blank\" rel=\"noopener\">Simon McBurney\u003c/a> is getting a lot of attention for his one man play, \u003cem>The Encounter,\u003c/em> at the Curran in San Francisco. McBurney brilliantly transports the audience deep into the Amazon jungle on an existential journey with a \u003ca href=\"http://www.nationalgeographic.com/magazine/plus/lost-and-found/amazon-encounter-explorer-photographer/\" target=\"_blank\" rel=\"noopener\">National Geographic photographer \u003c/a>using binaural sound technology that puts his voice right inside the heads of the headphone wearing audience. There’s some great moments early on, and the technology is a wonder, but the storytelling falls a bit flat well before the end, and I was left wondering if the audio gadgetry just gets in McBurney’s way. Its run ends on Sunday. Details \u003ca href=\"https://sfcurran.com/shows/the-encounter\" target=\"_blank\" rel=\"noopener\">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/qId01X0MxLI'\n title='//www.youtube.com/embed/qId01X0MxLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through May 27:\u003c/strong> Meanwhile, across the Bay, \u003ca href=\"https://www.revealnews.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reveal\u003c/em>\u003c/a> host \u003ca href=\"http://revealradio.org/about/about-the-host/\" target=\"_blank\" rel=\"noopener\">Al Letson\u003c/a> is performing his one man show \u003cem>Summer in Sanctuary\u003c/em>, which is about teaching creative writing to a group of poor, mostly black kids at a summer camp. Letson tells his story with nothing more than a couple of slides, his lyrical poems, and by channeling the kids themselves. Yet Letson takes us far deeper than McBurney does into his story, and he does it with more heart. Details for \u003cem>Summer in Sanctuary\u003c/em> at the Marsh in Berkeley are \u003ca href=\"https://themarsh.org/summer_sanctuary/al-letson-berkeley/\" target=\"_blank\" rel=\"noopener\">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/YPPXQTef1hY'\n title='//www.youtube.com/embed/YPPXQTef1hY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 5\u003c/strong>: If San Francisco’s \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener\">LGBT Pride Parade\u003c/a> has a soundtrack, a lot of people might assume it’s got a disco beat. But this year, the parade will get a dose of bluegrass twang. \u003ca href=\"https://www.cbaweb.org/\" target=\"_blank\" rel=\"noopener\">The California Bluegrass Association\u003c/a> is sponsoring a float, and there’s a fundraiser on Friday to pay for it. Ted Kuster and fiddle player Brandon Godman (once fired from a bluegrass band because he was gay) talked the association into the effort, despite the fact that some thought the parade is too political. “I’ve always joked,” Godman told me the other day, “that when I came out of the closet I didn’t throw away my Bill Monroe CD’s and replace him with Beyoncé. I grew up listening to fiddle playing on cassette tapes, and I was that geek. And I’ll probably never change. So for me that’s the victory. Dispelling that myth of bluegrass doesn’t fit into a box, LGBTQ doesn’t fit into a box. Stop trying to put people in boxes.” There’s a terrific lineup for this show that includes Kathy Kallick, Laurie Lewis, Tom Rozum, Molly Tuttle Godman (who plays a mean fiddle) and others. As Gabe said, it’s raining banjos. Details \u003ca href=\"http://www.ashkenaz.com/eventcalendar/2017/5/5/bluegrass-pride-featuring-kathy-kallick-molly-tuttle-thompsonia-tom-bekeny-and-more\" target=\"_blank\" rel=\"noopener\">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/7ReW0jJkag8'\n title='//www.youtube.com/embed/7ReW0jJkag8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 9:\u003c/strong> We had just time for Gabe to do a shoutout for \u003ca href=\"http://pjharvey.net/\" target=\"_blank\" rel=\"noopener\">PJ Harvey\u003c/a>, who doesn’t tour very often, but is a massive talent. She’s at the Masonic in San Francisco, and Gabe was surprised to find the show hadn’t sold out, so we couldn’t resist featuring it as well. Details for PJ Harvey at the Masonic are \u003ca href=\"http://sfmasonic.com/event/pj-harvey/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13161481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13161481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg\" alt=\"David Wiegand co-hosting a Do List Live event at the Chapel in 2015\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-960x560.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Wiegand co-hosting a Do List Live event at the Chapel in 2015 \u003ccite>(Photo: Courtesy of KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have the sad duty of saying goodbye to my co-host David Wiegand. He’s left the Do List after an amazing run. David, producer \u003ca href=\"http://www.kqed.org/radio/about/staff/suzie-racho.jsp\" target=\"_blank\" rel=\"noopener\">Suzie Racho\u003c/a> and I co-created The Do List nine years ago, and David’s been the rock on which we’ve built this show. He’s always had a keen eye for great art, whether it was challenging as hell, or made us cry, or just brought us joy and laughter. You can still find \u003ca href=\"http://www.sfchronicle.com/author/david-wiegand/\" target=\"_blank\" rel=\"noopener\">David in the Datebook\u003c/a> section of the San Francisco Chronicle. That being said — David, thanks a lot for all the good radio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Simon McBurney's 'The Encounter' is an Elevator Pitch Disguised as a Play",
"headTitle": "Simon McBurney’s ‘The Encounter’ is an Elevator Pitch Disguised as a Play | KQED",
"content": "\u003cp>The British company \u003ca href=\"http://www.complicite.org/\" target=\"_blank\" rel=\"noopener\">Complicite\u003c/a>’s production of Simon McBurney’s one-man high-tech extravaganza, \u003ca href=\"https://sfcurran.com/shows/the-encounter/?gclid=Cj0KEQjwuZvIBRD-8Z6B2M2Sy68BEiQAtjYS3NT65v183CyaU7umJoOpGciCXdNCEm5eDdMmbO9bFfQaAvNj8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Encounter\u003c/em>\u003c/a>, has the sharp kick of a Hollywood pitch: \u003cem>National Geographic\u003c/em> photojournalist Loren McIntyre slips into the Amazon jungle on assignment, gets lost, and spends two months with the remote Mayoruna tribe, whose members alternately dismiss, torture, and nurse him back to life. Along the way, he learns to speak telepathically to tribal elders, and feels that he has somehow reached the beginning or end of time.\u003c/p>\n\u003cp>It’s a classic setup, reminiscent of Joseph Conrad’s \u003cem>Heart of Darkness\u003c/em>, Werner Herzog’s \u003cem>Aguirre, the Wrath of God\u003c/em>, not to mention Ridley Scott’s \u003cem>Alien\u003c/em> and Homer’s \u003cem>The Odyssey\u003c/em>. The promise of getting lost is always tantalizing, which of course is the pleasure of the journey — or at least the tale of one.\u003c/p>\n\u003cfigure id=\"attachment_13141298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-800x450.jpg\" alt=\"Simon McBurney as 'National Geographic' photographer Loren McIntyre in 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Simon McBurney as ‘National Geographic’ photographer Loren McIntyre in ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Robbie Jack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show begins with a rather amusing description of its sophisticated sound technology. Under McBurney’s direction, the entire audience dons headphones and gets a lesson in the mysteries of sound. Center stage is an amazing piece of equipment known as a “binaural microphone.” With it, McBurney can whisper into our collective ears, as if he were standing right beside each of us.\u003c/p>\n\u003cp>You don’t doubt the theatrical potential of such technology, but you do wonder what’s next: an explanation of the wonders of programmable lighting boards, or the physics of counter-weight rigging systems? McBurney takes what is essentially a tool and treats it as a philosophical insight of startling scope. What we’re here for is McIntyre’s jungle freakout, but what McBurney gives us is a lecture on method and themes.\u003c/p>\n\u003cp>He makes three claims up front: that “stories are how we understand life,” that the “past is probably more important to you than your present,” and, with the help of a recording of Marcus du Sautoy, a math professor at Oxford University, that time is “just a fiction. Something that we have made up in order to make sense of the world.” Yes, all that might be true, but it feels like a dodge, a way of pre-declaring the importance of the work rather than taking a chance with actual art.\u003c/p>\n\u003cfigure id=\"attachment_13141302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-800x428.jpg\" alt=\"'National Geographic' photographer Loren McIntyre (Simon McBurney) finds himself lost in the jungle, which is maybe what he wanted in 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-768x411.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1020x546.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1920x1027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1180x631.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-960x513.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-520x278.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘National Geographic’ photographer Loren McIntyre (Simon McBurney) finds himself lost in the jungle, which is maybe what he wanted in ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Tristram Kenton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McIntyre’s story is fascinating — full of nagging inconsistencies and strange motivations. What was he expecting when he ordered his pilot to drop him at a riverbank beach and come back to get him in two or three days, at least 400 miles from any kind of civilization? And why did he follow the Mayoruna into the jungle without the slightest idea of how to get back? Yes, McIntyre wanted pictures and a terrific story. But it seems that more than anything else, he wanted to get lost.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And this is where you would expect the show’s sound design, by Gareth Fry and Pete Malkin, to soar and throw us into a maze of disorientation. (The \u003ca href=\"http://www.broadwayworld.com/article/Gareth-Fry-and-Pete-Malkin-to-Be-Honored-with-2017-Special-Tony-Awards-for-THE-ENCOUNTER-20170501\" target=\"_blank\" rel=\"noopener\">Tony Awards Committee\u003c/a> just announced that it will be presenting the pair with a special award for their work on \u003cem>The Encounter\u003c/em>.) Yet instead of radically destroying our perception of time and space, which is what happened to McIntyre in the jungle, McBurney slavishly adheres to the creakiest conventions of one-man stage plays.\u003c/p>\n\u003cp>Nothing much actually happens in \u003cem>The Encounter\u003c/em> without an explanation about what is happening, or what it means, or the philosophical importance of that meaning. McIntyre talks to himself in bite-sized bits of audience-friendly information: “My Camera! I’d fallen asleep with it on my hip and now I don’t have it. Where was it?” And every action is both acted out and narrated at the same time, so that when McIntyre runs he’s constantly reminding us that he’s, well, running: “I started jogging,” “running felt good,” “I ran on.”\u003c/p>\n\u003cp>If that weren’t enough to strain patience, McBurney, as himself, narrates each moment with a novelistic detail that numbs and overwhelms: “Loren McIntyre’s knees gave way and he just sank to the floor. He sat there. Inches from his damaged camera. Useless.” That’s merely the beginning of a lengthy description of McIntyre losing his camera, and there are scores of passages just like this from start to finish of the two-hour-long, intermission-less show.\u003c/p>\n\u003cfigure id=\"attachment_13141305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-800x450.jpg\" alt=\"The binaural microphone might be the true and underutilized star of 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The binaural microphone might be the true and underutilized star of ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Guy Coletta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, this is not an experience so much as a bludgeoning of the possibility of any experience at all. Like McIntyre, we yearn for strange and authentic encounters. But that requires trust, and trust is what McBurney refuses to grant us. This isn’t art, but prestige dressed up in the guise of radical experimentation.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Encounter’ runs through Sunday, May 7, at the Curran Theater in San Francisco. Tickets and more information \u003ca href=\"https://sfcurran.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "If 'The Encounter' were a movie, it’d be making a run for the Oscars.",
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"title": "Simon McBurney's 'The Encounter' is an Elevator Pitch Disguised as a Play | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The British company \u003ca href=\"http://www.complicite.org/\" target=\"_blank\" rel=\"noopener\">Complicite\u003c/a>’s production of Simon McBurney’s one-man high-tech extravaganza, \u003ca href=\"https://sfcurran.com/shows/the-encounter/?gclid=Cj0KEQjwuZvIBRD-8Z6B2M2Sy68BEiQAtjYS3NT65v183CyaU7umJoOpGciCXdNCEm5eDdMmbO9bFfQaAvNj8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Encounter\u003c/em>\u003c/a>, has the sharp kick of a Hollywood pitch: \u003cem>National Geographic\u003c/em> photojournalist Loren McIntyre slips into the Amazon jungle on assignment, gets lost, and spends two months with the remote Mayoruna tribe, whose members alternately dismiss, torture, and nurse him back to life. Along the way, he learns to speak telepathically to tribal elders, and feels that he has somehow reached the beginning or end of time.\u003c/p>\n\u003cp>It’s a classic setup, reminiscent of Joseph Conrad’s \u003cem>Heart of Darkness\u003c/em>, Werner Herzog’s \u003cem>Aguirre, the Wrath of God\u003c/em>, not to mention Ridley Scott’s \u003cem>Alien\u003c/em> and Homer’s \u003cem>The Odyssey\u003c/em>. The promise of getting lost is always tantalizing, which of course is the pleasure of the journey — or at least the tale of one.\u003c/p>\n\u003cfigure id=\"attachment_13141298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-800x450.jpg\" alt=\"Simon McBurney as 'National Geographic' photographer Loren McIntyre in 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter5-e1493667591700-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Simon McBurney as ‘National Geographic’ photographer Loren McIntyre in ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Robbie Jack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show begins with a rather amusing description of its sophisticated sound technology. Under McBurney’s direction, the entire audience dons headphones and gets a lesson in the mysteries of sound. Center stage is an amazing piece of equipment known as a “binaural microphone.” With it, McBurney can whisper into our collective ears, as if he were standing right beside each of us.\u003c/p>\n\u003cp>You don’t doubt the theatrical potential of such technology, but you do wonder what’s next: an explanation of the wonders of programmable lighting boards, or the physics of counter-weight rigging systems? McBurney takes what is essentially a tool and treats it as a philosophical insight of startling scope. What we’re here for is McIntyre’s jungle freakout, but what McBurney gives us is a lecture on method and themes.\u003c/p>\n\u003cp>He makes three claims up front: that “stories are how we understand life,” that the “past is probably more important to you than your present,” and, with the help of a recording of Marcus du Sautoy, a math professor at Oxford University, that time is “just a fiction. Something that we have made up in order to make sense of the world.” Yes, all that might be true, but it feels like a dodge, a way of pre-declaring the importance of the work rather than taking a chance with actual art.\u003c/p>\n\u003cfigure id=\"attachment_13141302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141302\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-800x428.jpg\" alt=\"'National Geographic' photographer Loren McIntyre (Simon McBurney) finds himself lost in the jungle, which is maybe what he wanted in 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-768x411.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1020x546.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1920x1027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-1180x631.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-960x513.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Encounter2-e1493668103474-520x278.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘National Geographic’ photographer Loren McIntyre (Simon McBurney) finds himself lost in the jungle, which is maybe what he wanted in ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Tristram Kenton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McIntyre’s story is fascinating — full of nagging inconsistencies and strange motivations. What was he expecting when he ordered his pilot to drop him at a riverbank beach and come back to get him in two or three days, at least 400 miles from any kind of civilization? And why did he follow the Mayoruna into the jungle without the slightest idea of how to get back? Yes, McIntyre wanted pictures and a terrific story. But it seems that more than anything else, he wanted to get lost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And this is where you would expect the show’s sound design, by Gareth Fry and Pete Malkin, to soar and throw us into a maze of disorientation. (The \u003ca href=\"http://www.broadwayworld.com/article/Gareth-Fry-and-Pete-Malkin-to-Be-Honored-with-2017-Special-Tony-Awards-for-THE-ENCOUNTER-20170501\" target=\"_blank\" rel=\"noopener\">Tony Awards Committee\u003c/a> just announced that it will be presenting the pair with a special award for their work on \u003cem>The Encounter\u003c/em>.) Yet instead of radically destroying our perception of time and space, which is what happened to McIntyre in the jungle, McBurney slavishly adheres to the creakiest conventions of one-man stage plays.\u003c/p>\n\u003cp>Nothing much actually happens in \u003cem>The Encounter\u003c/em> without an explanation about what is happening, or what it means, or the philosophical importance of that meaning. McIntyre talks to himself in bite-sized bits of audience-friendly information: “My Camera! I’d fallen asleep with it on my hip and now I don’t have it. Where was it?” And every action is both acted out and narrated at the same time, so that when McIntyre runs he’s constantly reminding us that he’s, well, running: “I started jogging,” “running felt good,” “I ran on.”\u003c/p>\n\u003cp>If that weren’t enough to strain patience, McBurney, as himself, narrates each moment with a novelistic detail that numbs and overwhelms: “Loren McIntyre’s knees gave way and he just sank to the floor. He sat there. Inches from his damaged camera. Useless.” That’s merely the beginning of a lengthy description of McIntyre losing his camera, and there are scores of passages just like this from start to finish of the two-hour-long, intermission-less show.\u003c/p>\n\u003cfigure id=\"attachment_13141305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13141305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-800x450.jpg\" alt=\"The binaural microphone might be the true and underutilized star of 'The Encounter' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/encounter1-e1493668513427-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The binaural microphone might be the true and underutilized star of ‘The Encounter’ at the Curran Theater. \u003ccite>(Photo: Guy Coletta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, this is not an experience so much as a bludgeoning of the possibility of any experience at all. Like McIntyre, we yearn for strange and authentic encounters. But that requires trust, and trust is what McBurney refuses to grant us. This isn’t art, but prestige dressed up in the guise of radical experimentation.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Encounter’ runs through Sunday, May 7, at the Curran Theater in San Francisco. Tickets and more information \u003ca href=\"https://sfcurran.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Palo Alto, where Asian Americans make up nearly 40 percent of the \u003ca href=\"https://www.pausd.org/sites/default/files/pdn-news/attachments/Elementary%20Enrollment%20Demographics.pdf\" target=\"_blank\" rel=\"noopener\">student population\u003c/a>, they also make up roughly 40 percent of youth suicides over the last decade. And in just the last two years, four out of five teen suicides in Palo Alto have been East Asian kids.\u003c/p>\n\u003cp>But many parents are first-generation immigrants, leery of acknowledging and addressing mental health problems. So psychiatrists at \u003ca href=\"http://www.stanfordchipao.com/\" target=\"_blank\" rel=\"noopener\">Stanford University\u003c/a> are turning to an unlikely art form to start the conversation: theater.\u003c/p>\n\u003cp>“A lot of parents are reluctant to talk about their own feelings,” says \u003ca href=\"https://med.stanford.edu/profiles/rona-hu\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a second-generation Chinese American Stanford psychiatrist and the main force behind a volunteer theater troupe whose job it is to model good parenting techniques informed by American psychiatry. “Immigrant parents often aren’t aware of or prepared for the way that their teenagers behave in this culture, because it’s so different from the way that they were raised.”\u003c/p>\n\u003cfigure id=\"attachment_13113614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113614 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg\" alt=\"Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hu, who has no performing arts training beyond one drama class in 9th grade, came up with the idea of theatrical, therapeutic vignettes in 2015 while making the rounds as a speaker on mental health at local schools. Parents would come up to her after lectures and panel discussions and ask for more practical help. “You can \u003cem>tell\u003c/em> us to communicate better with our teenagers,” Hu says of her interactions with parents. “But \u003cem>show\u003c/em> us. How do we do it?”\u003c/p>\n\u003cp>She was also inspired by her days as a resident at the University of California, San Francisco (UCSF), where faculty members used theatrical vignettes to help young doctors learn how to interact with difficult patients. During these sessions, teachers would act out a negative exchange, talk in character about what went wrong, and then reenact the scene to demonstrate a better outcome.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hu’s theater troupe is comprised mostly of medical professionals who write and perform skits inspired by their first and second-generation immigrant experience. They’ve been performing since March of 2016.\u003c/p>\n\u003cfigure id=\"attachment_13113615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13113615\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg\" alt='In \"Awkward Hug,\" a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. ' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Awkward Hug,” a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent evening, the troupe performed at Jordan Middle School in Palo Alto for an audience of roughly 100 parents.\u003c/p>\n\u003cp>With the barest of sets and costumes, the cast – most of them medical professionals – played out six uncomfortable conversations, covering topics like bad language, poor test scores, and depression.\u003c/p>\n\u003cp>In the staged scenes, the parents all love their children, but their tendency to respond with shock, anger or denial drives an emotional wedge between the generations.\u003c/p>\n\u003cp>Though the scenes are often played broadly for laughs, they also reflect real-life experience. Hu says, “I’ve had any number of parents coming up to me with tears rolling down their cheeks, saying, ‘That vignette was my life.’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vignettes for Asian Parents of Teens - "What's Wrong With You!"\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/3FFMhUEzB9A?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>As with the skits at UCSF, a moderator “interviews” the actors after their scene, so they can explain the psychological underpinnings of the argument. The audience also has an opportunity to weigh in with questions.\u003c/p>\n\u003cp>Then, the actor-psychiatrists model on stage what good parenting looks like. The father who first berated his son for failing another math test offers sympathy and practical solutions instead. The mother who first laughed off her daughter’s depression now agrees to help her consult a medical professional.\u003c/p>\n\u003cp>The overall idea of the theater project is to get parents talking about applying emotional intelligence to their daily interactions with their children. “’What’s wrong, sweetie?’ versus ‘What’s wrong with you?’ which sounds accusatory,” Hu says. “Especially if they’ve been raised in a culture where it was taboo to talk about feelings, these are skills that will take some work to acquire.”\u003c/p>\n\u003cfigure id=\"attachment_13113823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113823 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg\" alt='In \"Just Be Happy,\" Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Just Be Happy,” Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal researchers who \u003ca href=\"https://www.sccgov.org/sites/sccphd/en-us/Partners/collabproj/epi-aid/Pages/epi-aid.aspx\" target=\"_blank\" rel=\"noopener\">delved into the data\u003c/a> found many teen suicides in Palo Alto in recent years had underlying mental health issues. Each case is unique, but Hu says a child that feels his or her parent is an ally is less likely to hide problems that could develop into something serious, or even life-threatening.\u003c/p>\n\u003cp>“If the parent knows about the issue, then they can do something about it,” Hu says. “But if they don’t know, then there’s really nothing they can do.”\u003c/p>\n\u003cp>Gloria Zhang, a Palo Alto parent present at the Jordan Middle School event, says she doesn’t want to wait till there’s a crisis to develop a better relationship with her middle schooler. She says she feels like she could use more training to talk to her son without losing her temper. “I want to improve; communicate with him better, to let him to understand I love him,” Zhang says. “I want him healthy.”\u003c/p>\n\u003cfigure id=\"attachment_13113824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113824 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg\" alt='In \"Party Dress,\" Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing.' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Party Dress,” Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling isn’t limited to East Asian parents. By popular demand, the troupe has expanded its audience base to include Latino and South Asian families.\u003c/p>\n\u003cp>The Stanford psychiatrists are currently applying for grants to study whether the skits work in a scientific sense — as well as a theatrical one.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stanford psychiatrists perform next for the American Psychiatric Association Saturday, May 20, in San Diego. More info \u003ca href=\"https://www.psychiatry.org/psychiatrists/meetings/annual-meeting\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Palo Alto, where Asian Americans make up nearly 40 percent of the \u003ca href=\"https://www.pausd.org/sites/default/files/pdn-news/attachments/Elementary%20Enrollment%20Demographics.pdf\" target=\"_blank\" rel=\"noopener\">student population\u003c/a>, they also make up roughly 40 percent of youth suicides over the last decade. And in just the last two years, four out of five teen suicides in Palo Alto have been East Asian kids.\u003c/p>\n\u003cp>But many parents are first-generation immigrants, leery of acknowledging and addressing mental health problems. So psychiatrists at \u003ca href=\"http://www.stanfordchipao.com/\" target=\"_blank\" rel=\"noopener\">Stanford University\u003c/a> are turning to an unlikely art form to start the conversation: theater.\u003c/p>\n\u003cp>“A lot of parents are reluctant to talk about their own feelings,” says \u003ca href=\"https://med.stanford.edu/profiles/rona-hu\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a second-generation Chinese American Stanford psychiatrist and the main force behind a volunteer theater troupe whose job it is to model good parenting techniques informed by American psychiatry. “Immigrant parents often aren’t aware of or prepared for the way that their teenagers behave in this culture, because it’s so different from the way that they were raised.”\u003c/p>\n\u003cfigure id=\"attachment_13113614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113614 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg\" alt=\"Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hu, who has no performing arts training beyond one drama class in 9th grade, came up with the idea of theatrical, therapeutic vignettes in 2015 while making the rounds as a speaker on mental health at local schools. Parents would come up to her after lectures and panel discussions and ask for more practical help. “You can \u003cem>tell\u003c/em> us to communicate better with our teenagers,” Hu says of her interactions with parents. “But \u003cem>show\u003c/em> us. How do we do it?”\u003c/p>\n\u003cp>She was also inspired by her days as a resident at the University of California, San Francisco (UCSF), where faculty members used theatrical vignettes to help young doctors learn how to interact with difficult patients. During these sessions, teachers would act out a negative exchange, talk in character about what went wrong, and then reenact the scene to demonstrate a better outcome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hu’s theater troupe is comprised mostly of medical professionals who write and perform skits inspired by their first and second-generation immigrant experience. They’ve been performing since March of 2016.\u003c/p>\n\u003cfigure id=\"attachment_13113615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13113615\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg\" alt='In \"Awkward Hug,\" a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. ' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Awkward Hug,” a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent evening, the troupe performed at Jordan Middle School in Palo Alto for an audience of roughly 100 parents.\u003c/p>\n\u003cp>With the barest of sets and costumes, the cast – most of them medical professionals – played out six uncomfortable conversations, covering topics like bad language, poor test scores, and depression.\u003c/p>\n\u003cp>In the staged scenes, the parents all love their children, but their tendency to respond with shock, anger or denial drives an emotional wedge between the generations.\u003c/p>\n\u003cp>Though the scenes are often played broadly for laughs, they also reflect real-life experience. Hu says, “I’ve had any number of parents coming up to me with tears rolling down their cheeks, saying, ‘That vignette was my life.’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vignettes for Asian Parents of Teens - "What's Wrong With You!"\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/3FFMhUEzB9A?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>As with the skits at UCSF, a moderator “interviews” the actors after their scene, so they can explain the psychological underpinnings of the argument. The audience also has an opportunity to weigh in with questions.\u003c/p>\n\u003cp>Then, the actor-psychiatrists model on stage what good parenting looks like. The father who first berated his son for failing another math test offers sympathy and practical solutions instead. The mother who first laughed off her daughter’s depression now agrees to help her consult a medical professional.\u003c/p>\n\u003cp>The overall idea of the theater project is to get parents talking about applying emotional intelligence to their daily interactions with their children. “’What’s wrong, sweetie?’ versus ‘What’s wrong with you?’ which sounds accusatory,” Hu says. “Especially if they’ve been raised in a culture where it was taboo to talk about feelings, these are skills that will take some work to acquire.”\u003c/p>\n\u003cfigure id=\"attachment_13113823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113823 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg\" alt='In \"Just Be Happy,\" Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Just Be Happy,” Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal researchers who \u003ca href=\"https://www.sccgov.org/sites/sccphd/en-us/Partners/collabproj/epi-aid/Pages/epi-aid.aspx\" target=\"_blank\" rel=\"noopener\">delved into the data\u003c/a> found many teen suicides in Palo Alto in recent years had underlying mental health issues. Each case is unique, but Hu says a child that feels his or her parent is an ally is less likely to hide problems that could develop into something serious, or even life-threatening.\u003c/p>\n\u003cp>“If the parent knows about the issue, then they can do something about it,” Hu says. “But if they don’t know, then there’s really nothing they can do.”\u003c/p>\n\u003cp>Gloria Zhang, a Palo Alto parent present at the Jordan Middle School event, says she doesn’t want to wait till there’s a crisis to develop a better relationship with her middle schooler. She says she feels like she could use more training to talk to her son without losing her temper. “I want to improve; communicate with him better, to let him to understand I love him,” Zhang says. “I want him healthy.”\u003c/p>\n\u003cfigure id=\"attachment_13113824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113824 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg\" alt='In \"Party Dress,\" Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing.' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Party Dress,” Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling isn’t limited to East Asian parents. By popular demand, the troupe has expanded its audience base to include Latino and South Asian families.\u003c/p>\n\u003cp>The Stanford psychiatrists are currently applying for grants to study whether the skits work in a scientific sense — as well as a theatrical one.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stanford psychiatrists perform next for the American Psychiatric Association Saturday, May 20, in San Diego. More info \u003ca href=\"https://www.psychiatry.org/psychiatrists/meetings/annual-meeting\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "star-studded-hercules-brings-catharsis-to-bayview-citizens",
"title": "Star-Studded 'Hercules' Brings Catharsis to Bayview Citizens",
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"headTitle": "Star-Studded ‘Hercules’ Brings Catharsis to Bayview Citizens | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Thursday at the \u003ca href=\"https://www.bvoh.org/\" target=\"_blank\" rel=\"noopener\">Bayview Opera House\u003c/a>, Bryan Doerries staged a one-night-only reading of the Ancient Greek dramatist Euripides’ 2,500-year-old play \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">For Doerries, the Brooklyn-based artistic director of \u003ca href=\"http://theaterofwar.com/projects/theater-of-war/overview\" target=\"_blank\" rel=\"noopener\">Theater of War Productions\u003c/a>, the reading itself was secondary — almost beside the point. As he put it, “The audience is everything.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event, titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, is part of a series of staged readings that Theater of War presents to different communities around the country. Self-described as a “social impact company,” it uses theater to address a wide range of social issues. Doerries brought \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to the Bayview-Hunters Point neighborhood to initiate a discussion, he said, “about the timeless experience of violence.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123702 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg\" alt=\"Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-240x113.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-520x245.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\u003c/figcaption>\u003c/figure>\n\u003cp>After the reading ended, a group of five panelists, chosen for their ties to the Bayview community, sat together on stage to talk about their experience of violence in the neighborhood. To focus the discussion, Doerries had instructed them to base their remarks on what moved them about the ancient play.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The figure of Hercules is best known today from his appearances in pop culture pictures. Disney drew \u003ca href=\"http://www.nytimes.com/movie/review?res=9806E1DD173FF930A25755C0A961958260\" target=\"_blank\" rel=\"noopener\">him\u003c/a> in bright primary colors. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.facebook.com/Hercules3d/\" target=\"_blank\" rel=\"noopener\">Kellan Lutz\u003c/a> and \u003ca href=\"https://www.rottentomatoes.com/m/hercules_the_thracian_wars/\" target=\"_blank\" rel=\"noopener\">Dwayne “The Rock” Johnson\u003c/a> attempted to embody him with their outsized chests. He’s the most masculine of Greek heroes, vanquishing armies, enduring his labors and subduing monsters. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Euripides’ play is set after his famous exploits when, in an inexplicable fit, he kills his wife and children. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">depicts a life that’s been suffused with and motivated by violence. The play’s mournful tone examines the emotional aftermath of living such an aggrieved life, as well as the devastation of carrying on after your loved ones are dead.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123703 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg\" alt=\"Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529.jpg 834w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gwen Woods was one of the community panelists on stage. In Dec. 2015, her son Mario was killed on 3rd Street in the Bayview. Woods spoke eloquently about her grief, finding parallels between Hercules’ request for his children’s burial rites and her own. “We buried that child with all the dignity he deserved that I wanted,” Woods said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another panelist, Takija Gardner, is the executive director at Bayview-Hunters Point YMCA. She grew up in the neighborhood and lost her brother to violence, “He was murdered by his friends,” Gardner said. She cited Hercules’ lament “I’m cursed by the gods,” but brought it down to earth, applying it to her own experience. “I think about structures and institutions and how young black men in this community have to go through so many barriers to figure out what their worth is,” Gardner said.\u003c/p>\n\u003cfigure id=\"attachment_13123704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123704 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading-800x533.jpg\" alt=\"Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the panelists had finished their initial thoughts and reactions to the play, Doerries opened the floor for questions and comments. Audience member Cephus “Uncle Bobby” Johnson spoke first, followed by Sala-Haquekyah Chandler. Both took the opportunity to remind those present that their grief, and shared that their ensuing feelings of rage hadn’t abated. Johnson mentioned the date of his nephew Oscar Grant’s death at Oakland’s Fruitvale Station on in Jan. 2009. Chandler also spoke about her loss: her son Yalani was killed in Hayes Valley in Jan. 2015.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As each witness or relative to violence told his or her story, it became evident that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> wasn’t designed as a problem-solving event. The real life tragedies and remembrances of loved ones lost impacted the hushed audience more than the star-studded reading, involving Frances McDormand, Linda Powell, James Carpenter and Reg. E. Cathey. Intent on encouraging a shared public catharsis, Doerries the theater director achieved his goal.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Thursday at the \u003ca href=\"https://www.bvoh.org/\" target=\"_blank\" rel=\"noopener\">Bayview Opera House\u003c/a>, Bryan Doerries staged a one-night-only reading of the Ancient Greek dramatist Euripides’ 2,500-year-old play \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">For Doerries, the Brooklyn-based artistic director of \u003ca href=\"http://theaterofwar.com/projects/theater-of-war/overview\" target=\"_blank\" rel=\"noopener\">Theater of War Productions\u003c/a>, the reading itself was secondary — almost beside the point. As he put it, “The audience is everything.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event, titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, is part of a series of staged readings that Theater of War presents to different communities around the country. Self-described as a “social impact company,” it uses theater to address a wide range of social issues. Doerries brought \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to the Bayview-Hunters Point neighborhood to initiate a discussion, he said, “about the timeless experience of violence.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123702 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg\" alt=\"Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-240x113.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-520x245.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\u003c/figcaption>\u003c/figure>\n\u003cp>After the reading ended, a group of five panelists, chosen for their ties to the Bayview community, sat together on stage to talk about their experience of violence in the neighborhood. To focus the discussion, Doerries had instructed them to base their remarks on what moved them about the ancient play.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The figure of Hercules is best known today from his appearances in pop culture pictures. Disney drew \u003ca href=\"http://www.nytimes.com/movie/review?res=9806E1DD173FF930A25755C0A961958260\" target=\"_blank\" rel=\"noopener\">him\u003c/a> in bright primary colors. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.facebook.com/Hercules3d/\" target=\"_blank\" rel=\"noopener\">Kellan Lutz\u003c/a> and \u003ca href=\"https://www.rottentomatoes.com/m/hercules_the_thracian_wars/\" target=\"_blank\" rel=\"noopener\">Dwayne “The Rock” Johnson\u003c/a> attempted to embody him with their outsized chests. He’s the most masculine of Greek heroes, vanquishing armies, enduring his labors and subduing monsters. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Euripides’ play is set after his famous exploits when, in an inexplicable fit, he kills his wife and children. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">depicts a life that’s been suffused with and motivated by violence. The play’s mournful tone examines the emotional aftermath of living such an aggrieved life, as well as the devastation of carrying on after your loved ones are dead.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123703 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg\" alt=\"Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529.jpg 834w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gwen Woods was one of the community panelists on stage. In Dec. 2015, her son Mario was killed on 3rd Street in the Bayview. Woods spoke eloquently about her grief, finding parallels between Hercules’ request for his children’s burial rites and her own. “We buried that child with all the dignity he deserved that I wanted,” Woods said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another panelist, Takija Gardner, is the executive director at Bayview-Hunters Point YMCA. She grew up in the neighborhood and lost her brother to violence, “He was murdered by his friends,” Gardner said. She cited Hercules’ lament “I’m cursed by the gods,” but brought it down to earth, applying it to her own experience. “I think about structures and institutions and how young black men in this community have to go through so many barriers to figure out what their worth is,” Gardner said.\u003c/p>\n\u003cfigure id=\"attachment_13123704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123704 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading-800x533.jpg\" alt=\"Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the panelists had finished their initial thoughts and reactions to the play, Doerries opened the floor for questions and comments. Audience member Cephus “Uncle Bobby” Johnson spoke first, followed by Sala-Haquekyah Chandler. Both took the opportunity to remind those present that their grief, and shared that their ensuing feelings of rage hadn’t abated. Johnson mentioned the date of his nephew Oscar Grant’s death at Oakland’s Fruitvale Station on in Jan. 2009. Chandler also spoke about her loss: her son Yalani was killed in Hayes Valley in Jan. 2015.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As each witness or relative to violence told his or her story, it became evident that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> wasn’t designed as a problem-solving event. The real life tragedies and remembrances of loved ones lost impacted the hushed audience more than the star-studded reading, involving Frances McDormand, Linda Powell, James Carpenter and Reg. E. Cathey. Intent on encouraging a shared public catharsis, Doerries the theater director achieved his goal.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes you wonder about the souls of theaters. \u003ca href=\"http://counterpulse.org\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> certainly has a fascinating one. The San Francisco performing arts organization’s audiences, the way they commission and produce work, and the general vibe before and after performances feel at odds, in a good way, with how most performance is presented and consumed in the Bay Area.\u003c/p>\n\u003cp>You can certainly sense the company’s vision in the two pieces that comprise its “\u003ca href=\"http://counterpulse.org/event/edge-residency-2017/\" target=\"_blank\" rel=\"noopener\">2017 Edge Residency\u003c/a>,” a program dedicated to the development of work that slips somewhere between dance, theater, performance, and social advocacy.\u003c/p>\n\u003cp>Scarlett Cushion’s \u003cem>The Bell in the Blood\u003c/em> begins with dancer Hien Huynh in a yellow duster collecting tickets at the door. He performs an elaborate and ornate bow for each audience member as they enter the theater. Once there, it appears that the performance has been humming along for some time: Aaron Kierbel gently plays the drums; Iu-Hui Chua contorts her body in a series of poses that seem more animal than human; and Todd Thomas Brown plays the bass behind the audience. The melody is gentle. But Brown plays at a volume that rumbles through your body, making you feel like you are peacefully on edge.\u003c/p>\n\u003cfigure id=\"attachment_13108057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13108057\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-800x450.jpg\" alt=\"Todd Thomas Brown speaks of the mysteries of his backpack in Scarlett Cushion's 'The Bell in the Blood' at CounterPulse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Todd Thomas Brown speaks of the mysteries of his backpack in Scarlett Cushion’s ‘The Bell in the Blood’ at CounterPulse. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps because we’re used to dancers being the center of attention and bassists providing the support, it’s a little surprising when Brown strolls down the stairs next to us, and tells us about a little problem he’s been thinking about. He holds up a nifty REI backpack he bought four and a half months ago and asks: “How is it that I know everything that’s in here, but that I’ve lived in my body for over four decades and I know almost nothing of what’s in it?” It’s a nice beginning, though the writing could be pared some, and highlights the way the artists involved shift in and out of the limelight.\u003c/p>\n\u003cp>At one point, Kierbel plays the drums on a moving platform, as the others spin him around with ropes tied to the platform and their waists. Neither the rope metaphor nor the story of Kierbel’s feckless grandfathers fully succeeds. But the way the performers work together certainly does. A lot of dance and performance is star-driven. It’s as if the burning center of the work is in the vision of one person. With Scarlett Cushion, the pleasure is in the collective.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even the highlight of the piece — Huynh’s unforgettable story of his parents’ love and his propulsive yet feathery-light dancing — erupts from what feels like a group dream of survival. By the end of the evening, these four disparate talents have somehow managed to turn Marx’s old dictum of farce following tragedy into an aesthetic principal, and joyfully so. How wonderful that they should realize a kind of goofy utopia by working together as equals. \u003cem>The Bell in the Blood\u003c/em> is a little rough around the edges, but it’s always compelling and surprising.\u003c/p>\n\u003cfigure id=\"attachment_13108267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13108267\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-800x450.jpg\" alt=\"Hien Huynh spirals through the air in Scarlett Cushion's 'The Bell in the Blood' at CounterPulse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hien Huynh spirals through the air in Scarlett Cushion’s ‘The Bell in the Blood’ at CounterPulse. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the more assured and off-handedly ambitious second piece of the evening, \u003cem>weather//body\u003c/em>, Arletta Anderson and Adam Smith achieve a kind of mystical relationship with theatrical space and time. Watching performers set up the stage is rarely riveting, but as Anderson and Smith go about placing their props and getting their lighting just right, you can feel an intensity of purpose in the calm and precision of their house management. Even while adjusting an onstage amp, they seem to have us just where they want us.\u003c/p>\n\u003cp>So before you can register Smith’s electric guitar-playing and Anderson’s posing across the stage, they’ve begun. The performers state their names, the day, date, and time of the performance, and then the stage blacks out. The next light we see is Anderson swinging an LED around in a circle, while Smith produces a soundscape of reverb and feedback. It’s a simple and beautiful effect, the arc of the light only visible as it spins around in front of us. And then Smith quits playing and we just hear the spinning light, which goes on for quite a while.\u003c/p>\n\u003cfigure id=\"attachment_13108272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13108272\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-800x450.jpg\" alt=\"(L to R) Arletta Anderson and Adam Smith run and walk and run and walk and run and walk for a long time in 'weather//body' at CounterPulse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Arletta Anderson and Adam Smith run and walk and run and walk and run and walk for a long time in ‘weather//body’ at CounterPulse. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a mesmerizing effect and one of many bits in \u003cem>weather//body\u003c/em> that arrest and reshape our perceptions of the empty space before us. At one point, Anderson and Smith walk across the stage on the diagonal and then run back to the other side — again, and again, and again. Their ability to repeat the same action is astounding. And when that action begins to vary in the slightest bit, the changes are explosive.\u003c/p>\n\u003cp>We aren’t just watching, but also hearing what repetition does to the performers bodies, the way their breathing starts to deepen and expand as the physical toll of all that repeated movement begins to wear on them. The simplicity of the image, like a mathematical equation, is offset by the daunting nature of its execution. Even though nothing much is happening, it feels as if the world is all before us.\u003c/p>\n\u003cp>When Anderson drops a series of tiny lights on the ground while Smith plays, she suddenly resembles a God strolling among the stars. I heard a number of people gasp at what they were seeing. This might be the most stunning special effect of the year, as well as the least expensive.\u003c/p>\n\u003cfigure id=\"attachment_13108266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13108266\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-800x450.jpg\" alt=\"Adam Smith plays the guitar while Arletta Anderson dances through the universe in 'weather//body' at CounterPulse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Smith plays the guitar while Arletta Anderson dances through the universe in ‘weather//body’ at CounterPulse. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, they clean everything up and exit the stage in the most pedestrian way you can imagine. There’s Anderson sitting upstage diddling away on Smith’s guitar, her atonal twinkling more Morse code than music, as Smith sweeps up all the beauty that was before her like some janitor of the soul. In a piece that begins with the performers setting the stage, they end up leaving a clean and empty one.\u003c/p>\n\u003cp>That’s a task normally reserved for stagehands after the audience leaves. But under Anderson and Smith’s austere vision of the world, the housekeeping too becomes a moment of great mystery. Again, simple actions are rarely this riveting.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2017 Edge Residency runs through Saturday Apr. 29 at CounterPulse in San Francisco. For tickets and information click \u003ca href=\"http://counterpulse.org/event/edge-residency-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "CounterPulse Pushes Performers to the Edge — In a Good Way | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes you wonder about the souls of theaters. \u003ca href=\"http://counterpulse.org\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> certainly has a fascinating one. The San Francisco performing arts organization’s audiences, the way they commission and produce work, and the general vibe before and after performances feel at odds, in a good way, with how most performance is presented and consumed in the Bay Area.\u003c/p>\n\u003cp>You can certainly sense the company’s vision in the two pieces that comprise its “\u003ca href=\"http://counterpulse.org/event/edge-residency-2017/\" target=\"_blank\" rel=\"noopener\">2017 Edge Residency\u003c/a>,” a program dedicated to the development of work that slips somewhere between dance, theater, performance, and social advocacy.\u003c/p>\n\u003cp>Scarlett Cushion’s \u003cem>The Bell in the Blood\u003c/em> begins with dancer Hien Huynh in a yellow duster collecting tickets at the door. He performs an elaborate and ornate bow for each audience member as they enter the theater. Once there, it appears that the performance has been humming along for some time: Aaron Kierbel gently plays the drums; Iu-Hui Chua contorts her body in a series of poses that seem more animal than human; and Todd Thomas Brown plays the bass behind the audience. The melody is gentle. But Brown plays at a volume that rumbles through your body, making you feel like you are peacefully on edge.\u003c/p>\n\u003cfigure id=\"attachment_13108057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13108057\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-800x450.jpg\" alt=\"Todd Thomas Brown speaks of the mysteries of his backpack in Scarlett Cushion's 'The Bell in the Blood' at CounterPulse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-5-e1493144679270.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Todd Thomas Brown speaks of the mysteries of his backpack in Scarlett Cushion’s ‘The Bell in the Blood’ at CounterPulse. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps because we’re used to dancers being the center of attention and bassists providing the support, it’s a little surprising when Brown strolls down the stairs next to us, and tells us about a little problem he’s been thinking about. He holds up a nifty REI backpack he bought four and a half months ago and asks: “How is it that I know everything that’s in here, but that I’ve lived in my body for over four decades and I know almost nothing of what’s in it?” It’s a nice beginning, though the writing could be pared some, and highlights the way the artists involved shift in and out of the limelight.\u003c/p>\n\u003cp>At one point, Kierbel plays the drums on a moving platform, as the others spin him around with ropes tied to the platform and their waists. Neither the rope metaphor nor the story of Kierbel’s feckless grandfathers fully succeeds. But the way the performers work together certainly does. A lot of dance and performance is star-driven. It’s as if the burning center of the work is in the vision of one person. With Scarlett Cushion, the pleasure is in the collective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even the highlight of the piece — Huynh’s unforgettable story of his parents’ love and his propulsive yet feathery-light dancing — erupts from what feels like a group dream of survival. By the end of the evening, these four disparate talents have somehow managed to turn Marx’s old dictum of farce following tragedy into an aesthetic principal, and joyfully so. How wonderful that they should realize a kind of goofy utopia by working together as equals. \u003cem>The Bell in the Blood\u003c/em> is a little rough around the edges, but it’s always compelling and surprising.\u003c/p>\n\u003cfigure id=\"attachment_13108267\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13108267\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-800x450.jpg\" alt=\"Hien Huynh spirals through the air in Scarlett Cushion's 'The Bell in the Blood' at CounterPulse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-14-e1493145515932.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hien Huynh spirals through the air in Scarlett Cushion’s ‘The Bell in the Blood’ at CounterPulse. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the more assured and off-handedly ambitious second piece of the evening, \u003cem>weather//body\u003c/em>, Arletta Anderson and Adam Smith achieve a kind of mystical relationship with theatrical space and time. Watching performers set up the stage is rarely riveting, but as Anderson and Smith go about placing their props and getting their lighting just right, you can feel an intensity of purpose in the calm and precision of their house management. Even while adjusting an onstage amp, they seem to have us just where they want us.\u003c/p>\n\u003cp>So before you can register Smith’s electric guitar-playing and Anderson’s posing across the stage, they’ve begun. The performers state their names, the day, date, and time of the performance, and then the stage blacks out. The next light we see is Anderson swinging an LED around in a circle, while Smith produces a soundscape of reverb and feedback. It’s a simple and beautiful effect, the arc of the light only visible as it spins around in front of us. And then Smith quits playing and we just hear the spinning light, which goes on for quite a while.\u003c/p>\n\u003cfigure id=\"attachment_13108272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13108272\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-800x450.jpg\" alt=\"(L to R) Arletta Anderson and Adam Smith run and walk and run and walk and run and walk for a long time in 'weather//body' at CounterPulse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Edge-4-e1493146757122.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Arletta Anderson and Adam Smith run and walk and run and walk and run and walk for a long time in ‘weather//body’ at CounterPulse. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a mesmerizing effect and one of many bits in \u003cem>weather//body\u003c/em> that arrest and reshape our perceptions of the empty space before us. At one point, Anderson and Smith walk across the stage on the diagonal and then run back to the other side — again, and again, and again. Their ability to repeat the same action is astounding. And when that action begins to vary in the slightest bit, the changes are explosive.\u003c/p>\n\u003cp>We aren’t just watching, but also hearing what repetition does to the performers bodies, the way their breathing starts to deepen and expand as the physical toll of all that repeated movement begins to wear on them. The simplicity of the image, like a mathematical equation, is offset by the daunting nature of its execution. Even though nothing much is happening, it feels as if the world is all before us.\u003c/p>\n\u003cp>When Anderson drops a series of tiny lights on the ground while Smith plays, she suddenly resembles a God strolling among the stars. I heard a number of people gasp at what they were seeing. This might be the most stunning special effect of the year, as well as the least expensive.\u003c/p>\n\u003cfigure id=\"attachment_13108266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13108266\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-800x450.jpg\" alt=\"Adam Smith plays the guitar while Arletta Anderson dances through the universe in 'weather//body' at CounterPulse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/edge-12-e1493145083587.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Smith plays the guitar while Arletta Anderson dances through the universe in ‘weather//body’ at CounterPulse. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, they clean everything up and exit the stage in the most pedestrian way you can imagine. There’s Anderson sitting upstage diddling away on Smith’s guitar, her atonal twinkling more Morse code than music, as Smith sweeps up all the beauty that was before her like some janitor of the soul. In a piece that begins with the performers setting the stage, they end up leaving a clean and empty one.\u003c/p>\n\u003cp>That’s a task normally reserved for stagehands after the audience leaves. But under Anderson and Smith’s austere vision of the world, the housekeeping too becomes a moment of great mystery. Again, simple actions are rarely this riveting.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2017 Edge Residency runs through Saturday Apr. 29 at CounterPulse in San Francisco. For tickets and information click \u003ca href=\"http://counterpulse.org/event/edge-residency-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Obscure French Opera Calls Trump's Leadership Skills into Question",
"headTitle": "Obscure French Opera Calls Trump’s Leadership Skills into Question | KQED",
"content": "\u003cp>Opera has always been a means for voicing political dissent. Mozart’s \u003cem>The Marriage of Figaro\u003c/em> criticized the aristocracy. Verdi’s operas reflected on Italy’s struggle for independence. John Adams wrote a whole opera about Nixon’s 1972 visit to China.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Even a frilly Baroque opera-ballet like 18th century composer Jean-Philippe Rameau’s \u003cem>The Temple of Glory\u003c/em> (\u003cem>Le Temple de la Gloire\u003c/em>) uses history to weigh in on current events.\u003c/p>\n\u003cp>Nicholas McGegan is conducting the Bay Area’s \u003ca href=\"https://philharmonia.org/1617-season/rameau/\" target=\"_blank\" rel=\"noopener\">Philharmonia Baroque Orchestra and Chorale\u003c/a> in a rare production of the obscure French work in collaboration with \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> at the end of the month. “It’s really about what makes a good leader, which is topical,” McGegan says of the allegorical work’s particular relevance to U.S. audiences today.\u003c/p>\n\u003cfigure id=\"attachment_13088821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13088821 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg\" alt=\"Nicholas McGegan and Soloists\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conductor Nicholas McGegan with soloists for ‘The Temple of Glory.’ \u003ccite>(Photo: Philharmonia Baroque Orchestra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The satirical libretto, by Voltaire, follows what happens when a variety of different kings try to enter Apollo’s “Temple of Glory” — a bower for heroes guarded by the Muses. Two of the monarchs are barred for brutality and drunkenness. The third, Trajan, is allowed in for his generosity — he lets five conquered kings go — and insists on making the temple a bastion of inclusivity, “each rank, each sex, each age.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Supposedly, when Voltaire asked Louis XV “Is Trajan happy?” after the 1745 premiere, he was answered only with a chilling silence. “The opera was meant as a lesson in kingship,” McGegan says. “It is not enough to win battles; real heroes act a certain way. Unsurprisingly, the king did not enjoy being lectured on how to rule.”\u003c/p>\n\u003cp>The opera clearly cut too close for Louis XV. Though the monarch is known as “the well-loved,” his reign was riddled with financial crises, lost wars, fights with judges, and clashes between religions. Described as weak and adolescent, Louis XV was not much of a leader, spending much of his time chasing women and hunting. The French Revolution came only 15 years after his death.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rameau - Le Temple De La Gloire, Opéra-Ballet 1745\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/we6vxXQ9hwo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The opera was not a success and Rameau insisted on a rewrite of \u003cem>The Temple of Glory\u003c/em> less critical of leadership styles and more focused on love. Voltaire was ejected from the court and went on to write \u003cem>Candide\u003c/em>, perhaps his most politically incendiary work.\u003c/p>\n\u003cp>The Cal Performances production represents the first time modern audiences will get to experience the work in its original, unbowdlerized form. Those that attend the performances at Zellerbach Hall may see a parallel between the opera’s sly attempt to school the reigning monarch in the art of sensible leadership and John Oliver’s hilarious “Catheter Cowboy” ads aimed at educating President Donald Trump about everything from healthcare to sexual harassment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XigGuGQkObo\u003c/p>\n\u003cp>The opera may also help put things into perspective when you consider the fact that Louis XV, with a temperament unsuited for leadership, reigned for more than 50 years. That certainly makes the next four to eight here feel a little more bearable, and belies the myth that everything was better in the past.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Temple of Glory’ runs Friday, Apr. 28–Sunday, Apr. 30 at Zellerbach Hall on the UC Berkeley campus. For tickets and information, click \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Jean-Philippe Rameau and Voltaire's allegorical work uses mythology to weigh in on current events—and the opera's original version is getting its first full production since 1745, in Berkeley.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera has always been a means for voicing political dissent. Mozart’s \u003cem>The Marriage of Figaro\u003c/em> criticized the aristocracy. Verdi’s operas reflected on Italy’s struggle for independence. John Adams wrote a whole opera about Nixon’s 1972 visit to China.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Even a frilly Baroque opera-ballet like 18th century composer Jean-Philippe Rameau’s \u003cem>The Temple of Glory\u003c/em> (\u003cem>Le Temple de la Gloire\u003c/em>) uses history to weigh in on current events.\u003c/p>\n\u003cp>Nicholas McGegan is conducting the Bay Area’s \u003ca href=\"https://philharmonia.org/1617-season/rameau/\" target=\"_blank\" rel=\"noopener\">Philharmonia Baroque Orchestra and Chorale\u003c/a> in a rare production of the obscure French work in collaboration with \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> at the end of the month. “It’s really about what makes a good leader, which is topical,” McGegan says of the allegorical work’s particular relevance to U.S. audiences today.\u003c/p>\n\u003cfigure id=\"attachment_13088821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13088821 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg\" alt=\"Nicholas McGegan and Soloists\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conductor Nicholas McGegan with soloists for ‘The Temple of Glory.’ \u003ccite>(Photo: Philharmonia Baroque Orchestra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The satirical libretto, by Voltaire, follows what happens when a variety of different kings try to enter Apollo’s “Temple of Glory” — a bower for heroes guarded by the Muses. Two of the monarchs are barred for brutality and drunkenness. The third, Trajan, is allowed in for his generosity — he lets five conquered kings go — and insists on making the temple a bastion of inclusivity, “each rank, each sex, each age.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Supposedly, when Voltaire asked Louis XV “Is Trajan happy?” after the 1745 premiere, he was answered only with a chilling silence. “The opera was meant as a lesson in kingship,” McGegan says. “It is not enough to win battles; real heroes act a certain way. Unsurprisingly, the king did not enjoy being lectured on how to rule.”\u003c/p>\n\u003cp>The opera clearly cut too close for Louis XV. Though the monarch is known as “the well-loved,” his reign was riddled with financial crises, lost wars, fights with judges, and clashes between religions. Described as weak and adolescent, Louis XV was not much of a leader, spending much of his time chasing women and hunting. The French Revolution came only 15 years after his death.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rameau - Le Temple De La Gloire, Opéra-Ballet 1745\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/we6vxXQ9hwo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The opera was not a success and Rameau insisted on a rewrite of \u003cem>The Temple of Glory\u003c/em> less critical of leadership styles and more focused on love. Voltaire was ejected from the court and went on to write \u003cem>Candide\u003c/em>, perhaps his most politically incendiary work.\u003c/p>\n\u003cp>The Cal Performances production represents the first time modern audiences will get to experience the work in its original, unbowdlerized form. Those that attend the performances at Zellerbach Hall may see a parallel between the opera’s sly attempt to school the reigning monarch in the art of sensible leadership and John Oliver’s hilarious “Catheter Cowboy” ads aimed at educating President Donald Trump about everything from healthcare to sexual harassment.\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/XigGuGQkObo'\n title='//www.youtube.com/embed/XigGuGQkObo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The opera may also help put things into perspective when you consider the fact that Louis XV, with a temperament unsuited for leadership, reigned for more than 50 years. That certainly makes the next four to eight here feel a little more bearable, and belies the myth that everything was better in the past.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Temple of Glory’ runs Friday, Apr. 28–Sunday, Apr. 30 at Zellerbach Hall on the UC Berkeley campus. For tickets and information, click \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The scenic design of internationally acclaimed Québécois theater director Robert Lepage’s \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/needles_and_opium.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Needles and Opium\u003c/em>\u003c/a> at the Geary Theater is without argument amazing: a cube that twists, turns, and bends into streets, hotels, jazz clubs, recording studios, and even the star-strewn universe, all in an assortment of different perspectives. Lepage and his team of designers and technicians give the clunky, material nature of the theater a fluidity that approaches and at times surpasses film.\u003c/p>\n\u003cfigure id=\"attachment_13035013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13035013\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-800x450.jpg\" alt=\"glories of New York in 'Needles and Opium' by Robert Lapage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Cocteau (Olivier Normand) views the glories of New York in ‘Needles and Opium’ by Robert Lapage. \u003ccite>(Photo: Tristram Kenton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a wild and florid display, demonstrating the endless possibilities of what you can do with static space. Yet the most stunning aspect of \u003cem>Needles and Opium\u003c/em> is that after a while you forget that anything about the design is spectacular. The complexity of the staging just sort of floats away, and we’re left with a different kind of spectacle — one of the imperfect human kind.\u003c/p>\n\u003cp>What emerges from and overtakes the dazzling stagecraft is the story of Robert, a heartbroken voice-over artist working a job in Paris. The poor man is so troubled that he can’t even suffer a proper breakdown. Yet by the end of the evening, his refusal to fall to the depths and get ravaged feels not only wise, but also a decision of some philosophical depth.\u003c/p>\n\u003cp>There’s an incredible moment when Robert resists a hypnotherapist’s request to slip into his soul, and you have to agree with him: Why consciously court pain? After all, swirling just beneath his surface desperation is a series of reveries of the more famous and fantastic failures of the young jazz giant Miles Davis and the dashing novelist, poet, painter, filmmaker, and social butterfly Jean Cocteau, circa 1949. And those reveries are so astounding that it’s hard to tell whether they’re Robert’s, Lepage’s, or the spirit of love itself.\u003c/p>\n\u003cp>It’s a shifty mix of souls and situations. In Paris, Davis finds temporary respite from America’s racial hell, and falls — literally, in Lepage’s staging — into the arms of the beautiful French chanteuse Juliette Greco. The high-flying Cocteau, lazily addicted to opium, is haunted by the feeling that he has found and lost absolute perfection in the novelist and poet Raymond Radiguet, dead from typhoid fever at 20. And Robert, merely a searching soul, finds himself caught in a purgatory of disbelief: how could the man he loves reject him so thoroughly?\u003c/p>\n\u003cfigure id=\"attachment_13035221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13035221 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-800x450.jpg\" alt=\"Robert (Olivier Normand) gets more and more frustrated on the phone is in 'Needles and Opium' by Robert Lepage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert (Olivier Normand) gets more and more frustrated on the phone in ‘Needles and Opium’ by Robert Lepage. \u003ccite>(Photo: Tristram Kenton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One might say that in Lepage’s world no one survives a failed romance, no matter how visionary your art or mundane your work might be. Like Orpheus (a favorite of Cocteau’s), we are destined to turn, look, and destroy what we adore. Even worse, we are consigned to remember it all, to never escape the idea of paradise and perfection that love inspires. And so you can’t help but think of the striking beauty of the scenes unfolding on stage as some kind of fleeting love, and Robert’s life as the aftermath — a savage fall from grace and beauty, where even the simplest activities turn into inadvertent trips to hell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an awful series of telephone mishaps, Robert attempts to leave a message for his ex-lover in New York, only to be thwarted by an operator with a shaky sense of numbers and time. A few scenes later, that same lover can’t reach him because Robert’s complaining to the hotel receptionist about the sexual escapades of the couple next door. When they finally talk, Robert becomes so frustrated that he repeatedly screams for him to hang up until he does.\u003c/p>\n\u003cp>These are riveting scenes, and each time we’re just watching a man sitting on a bed in a sparse hotel room talking on a phone. The simplicity and directness of the emotion calls into question the baroque theatrics of the staging. It’s as if the flawlessness of the design were a monster in need of slaying, an overwhelming force unconcerned with real human needs. You can feel Lepage taking on and questioning the very conception of the work that he’s so lovingly laid before us.\u003c/p>\n\u003cfigure id=\"attachment_13035224\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13035224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-800x450.jpg\" alt=\"Robert (Oliver Normand) watches Miles Davis (Wellesley Robertson III) create the soundtrack for Louis Malle's 'Elevator to the Gallows' in 'Needles and Opium' by Robert Lepage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert (Olivier Normand) watches Miles Davis (Wellesley Robertson III) create the soundtrack for Louis Malle’s ‘Elevator to the Gallows’ in ‘Needles and Opium’ by Robert Lepage. \u003ccite>(Photo: Tristram Kenton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Near the end, Robert watches Davis create the soundtrack for Louis Malle’s 1958 movie \u003cem>Elevator to the Gallows\u003c/em>, and he is taken with the notion that Davis is creating the music in the moment, and that if he had played the next day, “the music would have been different.” The idea catches Robert off guard. He asks Malle, “If one isn’t Miles Davis or Jean Cocteau, how does one transform such intense pain?” It’s a question that haunts every moment of \u003cem>Needles and Opium,\u003c/em> and it is never answered.\u003c/p>\n\u003cp>We can only remember Robert’s earlier attempt to say the simple phrase, “the love of his life,” and that he can’t quite do it. He has not transformed his pain into art. There is no moment of transcendence. Nothing of lasting value comes from the hurt that overcomes him at that moment. The line isn’t even about him, and yet it overturns everything for him, the world and how he understands love. In a stage production that seems to be a celebration of sheer over-the-top artistry, the most spectacular moment is one man’s inability to fully say one simple line.\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=\"Q.Logo.Break\" 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>‘Needles and Opium’ runs through Sunday, Apr. 23, at the Geary Theater in San Francisco. For tickets and information \u003ca href=\"http://www.act-sf.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The scenic design of internationally acclaimed Québécois theater director Robert Lepage’s \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/needles_and_opium.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Needles and Opium\u003c/em>\u003c/a> at the Geary Theater is without argument amazing: a cube that twists, turns, and bends into streets, hotels, jazz clubs, recording studios, and even the star-strewn universe, all in an assortment of different perspectives. Lepage and his team of designers and technicians give the clunky, material nature of the theater a fluidity that approaches and at times surpasses film.\u003c/p>\n\u003cfigure id=\"attachment_13035013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13035013\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-800x450.jpg\" alt=\"glories of New York in 'Needles and Opium' by Robert Lapage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium1-e1491899622889.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Cocteau (Olivier Normand) views the glories of New York in ‘Needles and Opium’ by Robert Lapage. \u003ccite>(Photo: Tristram Kenton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a wild and florid display, demonstrating the endless possibilities of what you can do with static space. Yet the most stunning aspect of \u003cem>Needles and Opium\u003c/em> is that after a while you forget that anything about the design is spectacular. The complexity of the staging just sort of floats away, and we’re left with a different kind of spectacle — one of the imperfect human kind.\u003c/p>\n\u003cp>What emerges from and overtakes the dazzling stagecraft is the story of Robert, a heartbroken voice-over artist working a job in Paris. The poor man is so troubled that he can’t even suffer a proper breakdown. Yet by the end of the evening, his refusal to fall to the depths and get ravaged feels not only wise, but also a decision of some philosophical depth.\u003c/p>\n\u003cp>There’s an incredible moment when Robert resists a hypnotherapist’s request to slip into his soul, and you have to agree with him: Why consciously court pain? After all, swirling just beneath his surface desperation is a series of reveries of the more famous and fantastic failures of the young jazz giant Miles Davis and the dashing novelist, poet, painter, filmmaker, and social butterfly Jean Cocteau, circa 1949. And those reveries are so astounding that it’s hard to tell whether they’re Robert’s, Lepage’s, or the spirit of love itself.\u003c/p>\n\u003cp>It’s a shifty mix of souls and situations. In Paris, Davis finds temporary respite from America’s racial hell, and falls — literally, in Lepage’s staging — into the arms of the beautiful French chanteuse Juliette Greco. The high-flying Cocteau, lazily addicted to opium, is haunted by the feeling that he has found and lost absolute perfection in the novelist and poet Raymond Radiguet, dead from typhoid fever at 20. And Robert, merely a searching soul, finds himself caught in a purgatory of disbelief: how could the man he loves reject him so thoroughly?\u003c/p>\n\u003cfigure id=\"attachment_13035221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13035221 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-800x450.jpg\" alt=\"Robert (Olivier Normand) gets more and more frustrated on the phone is in 'Needles and Opium' by Robert Lepage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-5-e1491899030116.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert (Olivier Normand) gets more and more frustrated on the phone in ‘Needles and Opium’ by Robert Lepage. \u003ccite>(Photo: Tristram Kenton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One might say that in Lepage’s world no one survives a failed romance, no matter how visionary your art or mundane your work might be. Like Orpheus (a favorite of Cocteau’s), we are destined to turn, look, and destroy what we adore. Even worse, we are consigned to remember it all, to never escape the idea of paradise and perfection that love inspires. And so you can’t help but think of the striking beauty of the scenes unfolding on stage as some kind of fleeting love, and Robert’s life as the aftermath — a savage fall from grace and beauty, where even the simplest activities turn into inadvertent trips to hell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an awful series of telephone mishaps, Robert attempts to leave a message for his ex-lover in New York, only to be thwarted by an operator with a shaky sense of numbers and time. A few scenes later, that same lover can’t reach him because Robert’s complaining to the hotel receptionist about the sexual escapades of the couple next door. When they finally talk, Robert becomes so frustrated that he repeatedly screams for him to hang up until he does.\u003c/p>\n\u003cp>These are riveting scenes, and each time we’re just watching a man sitting on a bed in a sparse hotel room talking on a phone. The simplicity and directness of the emotion calls into question the baroque theatrics of the staging. It’s as if the flawlessness of the design were a monster in need of slaying, an overwhelming force unconcerned with real human needs. You can feel Lepage taking on and questioning the very conception of the work that he’s so lovingly laid before us.\u003c/p>\n\u003cfigure id=\"attachment_13035224\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13035224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-800x450.jpg\" alt=\"Robert (Oliver Normand) watches Miles Davis (Wellesley Robertson III) create the soundtrack for Louis Malle's 'Elevator to the Gallows' in 'Needles and Opium' by Robert Lepage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Needles-and-Opium-3-e1491899471839.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert (Olivier Normand) watches Miles Davis (Wellesley Robertson III) create the soundtrack for Louis Malle’s ‘Elevator to the Gallows’ in ‘Needles and Opium’ by Robert Lepage. \u003ccite>(Photo: Tristram Kenton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Near the end, Robert watches Davis create the soundtrack for Louis Malle’s 1958 movie \u003cem>Elevator to the Gallows\u003c/em>, and he is taken with the notion that Davis is creating the music in the moment, and that if he had played the next day, “the music would have been different.” The idea catches Robert off guard. He asks Malle, “If one isn’t Miles Davis or Jean Cocteau, how does one transform such intense pain?” It’s a question that haunts every moment of \u003cem>Needles and Opium,\u003c/em> and it is never answered.\u003c/p>\n\u003cp>We can only remember Robert’s earlier attempt to say the simple phrase, “the love of his life,” and that he can’t quite do it. He has not transformed his pain into art. There is no moment of transcendence. Nothing of lasting value comes from the hurt that overcomes him at that moment. The line isn’t even about him, and yet it overturns everything for him, the world and how he understands love. In a stage production that seems to be a celebration of sheer over-the-top artistry, the most spectacular moment is one man’s inability to fully say one simple line.\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=\"Q.Logo.Break\" 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>‘Needles and Opium’ runs through Sunday, Apr. 23, at the Geary Theater in San Francisco. For tickets and information \u003ca href=\"http://www.act-sf.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Tenting in London with Occupy, Prison Pen Pals, and Broken Hearts in Paris",
"headTitle": "Cy and David’s Picks: Tenting in London with Occupy, Prison Pen Pals, and Broken Hearts in Paris | KQED",
"content": "\u003ch4>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/h4>\n\u003cp>The arts seem \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">more socially conscious and relevant than ever\u003c/a> under President Donald Trump. This week we feature a play about Occupy protests in London, as well as an art show about the prison-industrial complex. For a shout-out, we’ve added Rupa and the April Fishes doing a fundraiser for Indian tribes working to restore threatened salmon runs in California — a timely issue as the President works to \u003ca href=\"https://www.nytimes.com/2017/04/10/climate/trump-epa-budget-cuts.html?rref=collection%2Ftimestopic%2FEnvironmental%20Protection%20Agency&action=click&contentCollection=timestopics®ion=stream&module=stream_unit&version=latest&contentPlacement=4&pgtype=collection\" target=\"_blank\" rel=\"noopener\">cripple the Environmental Protection Agency\u003c/a>. Details for \u003ca href=\"https://lapena.org/event/2nd-annual-run-4-salmon-panel-benefit-show/\" target=\"_blank\" rel=\"noopener\">Rupa’s show at La Peña in Berkeley on April 14 are here\u003c/a>. Now on with rest of the show.\u003c/p>\n\u003cfigure id=\"attachment_13047327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13047327\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-800x892.jpg\" alt=\"Mario Ayala‘s painting "Bitch, I'm a Dog" is in his show Pen Pal at Ever Gold at the Minnesota Street Galleries\" width=\"800\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-800x892.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-1180x1316.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-375x418.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mario Ayala’s painting ‘Bitch, I’m a Dog’ is in his show ‘Pen Pal,’ at Ever Gold at the Minnesota Street Galleries. \u003ccite>(Photo: Courtesy of Mario Ayala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 13–May 13\u003c/strong>: Mario Ayala is a young painter from Los Angeles with a small but very worthy exhibit called \u003cem>Pen Pal\u003c/em>, about the American penal system. It features three paintings and stationery designed by Ayala, so that gallery goers can become pen pals with prisoners at San Quentin. Ayala was a student at the pricey San Francisco Art Institute, and he told me about how he and his dog were homeless part of the time he was studying art. “It was tough,” he told me by phone from Los Angeles. “I was always working when I was there. But I think it was great, I had a lot of support from friends and the school as well to continue my education and to finish and get a degree. And friends that fed me and housed me when they could.” Details \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/mario-ayala-pen-pal\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> for Mario Ayala’s show \u003cem>Pen Pal \u003c/em>at Ever Gold at the Minnesota Street Galleries in San Francisco’s Dogpatch through May 13.\u003c/p>\n\u003cfigure id=\"attachment_13047320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13047320\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-800x492.jpg\" alt=\"Kirk Dougherty (Rodolfo) and Sylvia Lee (Mimi) star in San Jose Operas new production of La bohème\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1920x1180.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1180x725.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kirk Dougherty (Rodolfo) and Sylvia Lee (Mimi) star in San Jose Operas new production of ‘La Bohème.’ \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 15–30\u003c/strong>: Mimi and Rodolfo first met on stage 121 years ago, at the premiere of \u003ca href=\"https://en.wikipedia.org/wiki/La_boh%C3%A8me\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>La Bohème\u003c/em>\u003c/a>. The story of a penniless but beautiful seamstress who meets an equally penniless but handsome poet seems very contemporary, considering how many in the Bay Area are trying to survive in the gig economy. \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>’s Sylvie Lee and Julie Adams alternate as Mimi, and Kirk Dougherty plays Rodolfo, in this new version set just after World War I in a Paris that is also home to Nijinsky, Igor Stravinsky, Pablo Picasso and Coco Chanel. This is a perfect opera for first-timers and buffs alike, because the songs are dazzling, and the story will make you laugh — and then break your heart. Details for \u003ca href=\"https://www.operasj.org/production/la-boheme/\" target=\"_blank\" rel=\"noopener\">San Jose Opera’s La Bohème are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LSnL5g4LSSc\u003c/p>\n\u003cp>\u003cstrong>April 20–23\u003c/strong>: Joe Henderson was born 80 years ago, so SFJAZZ has a terrific reason to offer a series of shows honoring Henderson — who died in San Francisco in 2001 — by recreating four of his classic albums. All the better that four of the Bay Area’s best saxophonists are doing these fresh takes. Dayna Stephens opens the fest with a recreation of Henderson’s \u003cem>Power to the People \u003c/em>\u003ca href=\"https://sfjazz.org/events/2016-17/0420/hotplate\" target=\"_blank\" rel=\"noopener\">on Thursday, April 20\u003c/a>, then Patrick Wolff does \u003cem>Our Thing\u003c/em> on Friday, \u003ca href=\"https://sfjazz.org/events/2016-17/0421/hotplate\" target=\"_blank\" rel=\"noopener\">April 21\u003c/a>. The great Howard Wiley recreates \u003cem>Lush Life\u003c/em> on Saturday, \u003ca href=\"https://sfjazz.org/events/2016-17/0422/hotplate\" target=\"_blank\" rel=\"noopener\">April 22\u003c/a>, and then Mad Duran performs tunes from Henderson’s 1966 Blue Note session \u003cem>Inner Urge on Sunday, \u003c/em>on \u003ca href=\"https://sfjazz.org/events/2016-17/0423/hotplate\" target=\"_blank\" rel=\"noopener\">April 23\u003c/a>. You can’t go wrong no matter what night you go. More details \u003ca href=\"https://sfjazz.org/events/2016-17/0420/hotplate\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PoE86LE8NUo\u003c/p>\n\u003cp>\u003cstrong>April 14–May 14\u003c/strong>: The ideals of the \u003ca href=\"http://www.occupy.com/\" target=\"_blank\" rel=\"noopener\">Occupy movement\u003c/a>, with its central thesis of standing up for the 99 percent, are alive and well in today’s anti-President Trump resistance. So this seems a good time for the play \u003cem>Temple\u003c/em> by Steve Waters, which examines the legal and ethical issues Occupy raised for city and religious leaders when protesters camped out in front of the beloved St. Paul’s Cathedral in London. \u003cem>Temple\u003c/em>, a recent hit at \u003ca href=\"https://www.theguardian.com/stage/2015/may/28/the-temple-review-simon-russell-beale-donmar-warehouse-st-pauls\" target=\"_blank\" rel=\"noopener\">London’s Donmar Warehouse\u003c/a>, features a terrific cast with Paul Whitworth, a longtime leader at Shakespeare Santa Cruz; the promethean Sharon Lockwood; and Lontyne Mbele-Mbong, who was excellent last year at the Aurora in \u003cem>Breakfast with Mugabe\u003c/em>. Details for the show at Berkeley’s Aurora Theatre are \u003ca href=\"https://www.auroratheatre.org/index.php?option=com_theatre&view=show&id=133\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CGKN6qiDqnk\u003c/p>\n\u003cp>\u003cstrong>April 14 & 17–19\u003c/strong>: \u003ca href=\"http://www.whitneytheband.com/\" target=\"_blank\" rel=\"noopener\">Whitney\u003c/a> is a band from Chicago, but their laid-back, country-soul sound (credit partly due to drummer Julien Erlich’s falsetto) sounds entirely Californian. Band leaders Max Kakacek (Smith Westerns) and Erlich (Unknown Mortal Orchestra) formed the band when they found they could write beautiful music together. They’re so hot that they’re playing Coachella, but they’re stopping first at Gundlach-Bundschu Winery on Friday, April 14, in Sonoma (a great, intimate venue), and they’re back in the Bay Area at the Independent in San Francisco for three nights, April 17–19. Details for the Gundlach-Bundschu show are\u003ca href=\"http://here\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>. And you’ll find details for the Independent show\u003ca href=\"http://www.theindependentsf.com/event/1415791-whitney-san-francisco/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X4Q7d0CtYyk\u003c/p>\n\u003cp>\u003cstrong>April 14\u003c/strong>: One more shoutout from David. He’s intrigued by the music of electronic music artist Victor Fenton, also known as \u003ca href=\"https://www.facebook.com/frenchkiwijuice/\" target=\"_blank\" rel=\"noopener\">FKJ\u003c/a>. The acronym means French Kiwi Juice (of course), a reference to Fenton’s French and New Zealand heritage. The music is just as eclectic. Details for FKJ’s show at the Warfield on Friday are \u003ca href=\"http://www.axs.com/events/331665/fkj-tickets?skin=warfield&src=AEGLIVE_WWRFLSFO022715VEN001\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"Q.Logo_.Break_-400x39\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"excerpt": "The Do List's picks this week include a play about Occupy in London, paintings to inspire prison pen pals, and seeing Whitney without flying to Coachella.",
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"description": "The Do List's picks this week include a play about Occupy in London, paintings to inspire prison pen pals, and seeing Whitney without flying to Coachella.",
"title": "Cy and David's Picks: Tenting in London with Occupy, Prison Pen Pals, and Broken Hearts in Paris | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/h4>\n\u003cp>The arts seem \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">more socially conscious and relevant than ever\u003c/a> under President Donald Trump. This week we feature a play about Occupy protests in London, as well as an art show about the prison-industrial complex. For a shout-out, we’ve added Rupa and the April Fishes doing a fundraiser for Indian tribes working to restore threatened salmon runs in California — a timely issue as the President works to \u003ca href=\"https://www.nytimes.com/2017/04/10/climate/trump-epa-budget-cuts.html?rref=collection%2Ftimestopic%2FEnvironmental%20Protection%20Agency&action=click&contentCollection=timestopics®ion=stream&module=stream_unit&version=latest&contentPlacement=4&pgtype=collection\" target=\"_blank\" rel=\"noopener\">cripple the Environmental Protection Agency\u003c/a>. Details for \u003ca href=\"https://lapena.org/event/2nd-annual-run-4-salmon-panel-benefit-show/\" target=\"_blank\" rel=\"noopener\">Rupa’s show at La Peña in Berkeley on April 14 are here\u003c/a>. Now on with rest of the show.\u003c/p>\n\u003cfigure id=\"attachment_13047327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13047327\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-800x892.jpg\" alt=\"Mario Ayala‘s painting "Bitch, I'm a Dog" is in his show Pen Pal at Ever Gold at the Minnesota Street Galleries\" width=\"800\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-800x892.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-1180x1316.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-375x418.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mario Ayala’s painting ‘Bitch, I’m a Dog’ is in his show ‘Pen Pal,’ at Ever Gold at the Minnesota Street Galleries. \u003ccite>(Photo: Courtesy of Mario Ayala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 13–May 13\u003c/strong>: Mario Ayala is a young painter from Los Angeles with a small but very worthy exhibit called \u003cem>Pen Pal\u003c/em>, about the American penal system. It features three paintings and stationery designed by Ayala, so that gallery goers can become pen pals with prisoners at San Quentin. Ayala was a student at the pricey San Francisco Art Institute, and he told me about how he and his dog were homeless part of the time he was studying art. “It was tough,” he told me by phone from Los Angeles. “I was always working when I was there. But I think it was great, I had a lot of support from friends and the school as well to continue my education and to finish and get a degree. And friends that fed me and housed me when they could.” Details \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/mario-ayala-pen-pal\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> for Mario Ayala’s show \u003cem>Pen Pal \u003c/em>at Ever Gold at the Minnesota Street Galleries in San Francisco’s Dogpatch through May 13.\u003c/p>\n\u003cfigure id=\"attachment_13047320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13047320\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-800x492.jpg\" alt=\"Kirk Dougherty (Rodolfo) and Sylvia Lee (Mimi) star in San Jose Operas new production of La bohème\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1920x1180.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1180x725.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kirk Dougherty (Rodolfo) and Sylvia Lee (Mimi) star in San Jose Operas new production of ‘La Bohème.’ \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 15–30\u003c/strong>: Mimi and Rodolfo first met on stage 121 years ago, at the premiere of \u003ca href=\"https://en.wikipedia.org/wiki/La_boh%C3%A8me\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>La Bohème\u003c/em>\u003c/a>. The story of a penniless but beautiful seamstress who meets an equally penniless but handsome poet seems very contemporary, considering how many in the Bay Area are trying to survive in the gig economy. \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>’s Sylvie Lee and Julie Adams alternate as Mimi, and Kirk Dougherty plays Rodolfo, in this new version set just after World War I in a Paris that is also home to Nijinsky, Igor Stravinsky, Pablo Picasso and Coco Chanel. This is a perfect opera for first-timers and buffs alike, because the songs are dazzling, and the story will make you laugh — and then break your heart. Details for \u003ca href=\"https://www.operasj.org/production/la-boheme/\" target=\"_blank\" rel=\"noopener\">San Jose Opera’s La Bohème 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/LSnL5g4LSSc'\n title='//www.youtube.com/embed/LSnL5g4LSSc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 20–23\u003c/strong>: Joe Henderson was born 80 years ago, so SFJAZZ has a terrific reason to offer a series of shows honoring Henderson — who died in San Francisco in 2001 — by recreating four of his classic albums. All the better that four of the Bay Area’s best saxophonists are doing these fresh takes. Dayna Stephens opens the fest with a recreation of Henderson’s \u003cem>Power to the People \u003c/em>\u003ca href=\"https://sfjazz.org/events/2016-17/0420/hotplate\" target=\"_blank\" rel=\"noopener\">on Thursday, April 20\u003c/a>, then Patrick Wolff does \u003cem>Our Thing\u003c/em> on Friday, \u003ca href=\"https://sfjazz.org/events/2016-17/0421/hotplate\" target=\"_blank\" rel=\"noopener\">April 21\u003c/a>. The great Howard Wiley recreates \u003cem>Lush Life\u003c/em> on Saturday, \u003ca href=\"https://sfjazz.org/events/2016-17/0422/hotplate\" target=\"_blank\" rel=\"noopener\">April 22\u003c/a>, and then Mad Duran performs tunes from Henderson’s 1966 Blue Note session \u003cem>Inner Urge on Sunday, \u003c/em>on \u003ca href=\"https://sfjazz.org/events/2016-17/0423/hotplate\" target=\"_blank\" rel=\"noopener\">April 23\u003c/a>. You can’t go wrong no matter what night you go. More details \u003ca href=\"https://sfjazz.org/events/2016-17/0420/hotplate\" target=\"_blank\" rel=\"noopener\">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/PoE86LE8NUo'\n title='//www.youtube.com/embed/PoE86LE8NUo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 14–May 14\u003c/strong>: The ideals of the \u003ca href=\"http://www.occupy.com/\" target=\"_blank\" rel=\"noopener\">Occupy movement\u003c/a>, with its central thesis of standing up for the 99 percent, are alive and well in today’s anti-President Trump resistance. So this seems a good time for the play \u003cem>Temple\u003c/em> by Steve Waters, which examines the legal and ethical issues Occupy raised for city and religious leaders when protesters camped out in front of the beloved St. Paul’s Cathedral in London. \u003cem>Temple\u003c/em>, a recent hit at \u003ca href=\"https://www.theguardian.com/stage/2015/may/28/the-temple-review-simon-russell-beale-donmar-warehouse-st-pauls\" target=\"_blank\" rel=\"noopener\">London’s Donmar Warehouse\u003c/a>, features a terrific cast with Paul Whitworth, a longtime leader at Shakespeare Santa Cruz; the promethean Sharon Lockwood; and Lontyne Mbele-Mbong, who was excellent last year at the Aurora in \u003cem>Breakfast with Mugabe\u003c/em>. Details for the show at Berkeley’s Aurora Theatre are \u003ca href=\"https://www.auroratheatre.org/index.php?option=com_theatre&view=show&id=133\" target=\"_blank\" rel=\"noopener\">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/CGKN6qiDqnk'\n title='//www.youtube.com/embed/CGKN6qiDqnk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 14 & 17–19\u003c/strong>: \u003ca href=\"http://www.whitneytheband.com/\" target=\"_blank\" rel=\"noopener\">Whitney\u003c/a> is a band from Chicago, but their laid-back, country-soul sound (credit partly due to drummer Julien Erlich’s falsetto) sounds entirely Californian. Band leaders Max Kakacek (Smith Westerns) and Erlich (Unknown Mortal Orchestra) formed the band when they found they could write beautiful music together. They’re so hot that they’re playing Coachella, but they’re stopping first at Gundlach-Bundschu Winery on Friday, April 14, in Sonoma (a great, intimate venue), and they’re back in the Bay Area at the Independent in San Francisco for three nights, April 17–19. Details for the Gundlach-Bundschu show are\u003ca href=\"http://here\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>. And you’ll find details for the Independent show\u003ca href=\"http://www.theindependentsf.com/event/1415791-whitney-san-francisco/\" target=\"_blank\" rel=\"noopener\"> 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/X4Q7d0CtYyk'\n title='//www.youtube.com/embed/X4Q7d0CtYyk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 14\u003c/strong>: One more shoutout from David. He’s intrigued by the music of electronic music artist Victor Fenton, also known as \u003ca href=\"https://www.facebook.com/frenchkiwijuice/\" target=\"_blank\" rel=\"noopener\">FKJ\u003c/a>. The acronym means French Kiwi Juice (of course), a reference to Fenton’s French and New Zealand heritage. The music is just as eclectic. Details for FKJ’s show at the Warfield on Friday are \u003ca href=\"http://www.axs.com/events/331665/fkj-tickets?skin=warfield&src=AEGLIVE_WWRFLSFO022715VEN001\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"Q.Logo_.Break_-400x39\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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