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"content": "\u003cp>With the official release of President Trump’s proposed budget on Thursday, arts leaders in California weren’t surprised to see the elimination of the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a> (NEA) and the \u003ca href=\"https://www.neh.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Humanities \u003c/a>(NEH) among the cuts. But that doesn’t mean they’re not worried about the survival of dozens of arts programs across the state, many of them serving immigrant and poor communities.\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>“It’s a significant blow,” says California Arts Council director Craig Watson. “Our fear is that even a loss of modest funding will have a ripple effect through local neighborhoods, and the neighborhoods that are least able to afford those losses.”\u003c/p>\n\u003cp>Watson says individual grants aren’t that large. In total, the NEA split $7.8 million among 119 grantees in California this year (2016-2017), while another $1.2 million went to the California Arts Council. But grantees have to match every dollar from other donors, in part to demonstrate public support for their programming or artworks. Groups say they can leverage an NEA grant nine times.\u003c/p>\n\u003cp>The Alliance for California Traditional Arts (ACTA) received $120,000 from the NEA last year, and the group stretched that money to support the work of everyone from Ohlone basket weavers to producers of Vietnamese opera and Cowboy poets.\u003c/p>\n\u003cfigure id=\"attachment_12911339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12911339 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg\" alt=\"Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez. \u003ccite>(Photo: Courtesy California Arts Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the thing that really is alarming about eliminating this agency,” says ACTA director Amy Kitchener. “There really is a fragile ecosystem for the arts in this country.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cuts could also mean more empty galleries at museums. The NEA underwrites temporary insurance for artwork in traveling exhibitions, an often otherwise prohibitive cost even for larger museums.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (SFMOMA) director Neal Benezra says the museum couldn’t have co-curated its current \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">\u003cem>Matisse/Diebenkorn\u003c/em> \u003c/a>show without NEA support, seeing as paintings by Matisse are valued in the \u003ca href=\"http://www.independent.co.uk/arts-entertainment/art/matisse-sets-new-49-million-dollar-record-in-new-york-2126992.html\" target=\"_blank\" rel=\"noopener\">millions and tens of millions of dollars\u003c/a>. “For many of our visitors,” Benezra wrote in an email, “these exhibitions represent the only opportunity in their lifetimes to enjoy and learn from these important works and the artists who created them.”\u003c/p>\n\u003cfigure id=\"attachment_12876000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12876000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg\" alt=\"Matisse's Goldfish and Palette next to Diebenkorn's Urbana #5- showing the affinities between the two artists in a show at SFMOMA\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matisse’s ‘Goldfish and Palette’ next to Diebenkorn’s ‘Urbana #5’ — showing the affinities between the two artists in a show at SFMOMA. \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>President Trump has also proposed eliminating the \u003ca href=\"https://www.imls.gov/\" target=\"_blank\" rel=\"noopener\">Institute for Museum and Library Science\u003c/a>, which helped fund SFMOMA’s new Photography Interpretive Gallery.\u003c/p>\n\u003cp>The same fate would also befall the National Endowment for the Humanities, which funds dozens of scholarly programs in California. The NEH has given San Jose State Associate Professor Matthew Spangler approximately $500,000 over the past three years, which he’s used to run a summer institute for K-12 teachers from around the country about the immigrant experience in California. As part of the program, the teachers are able to meet with authors ranging from Khaled Hosseini to Luis Valdez and Maxine Hong Kingston.\u003c/p>\n\u003cp>“The teachers come from all over — rural Georgia, Ohio, Wyoming, Alaska, New York — and they go back to do their schools rejuvenated,” Spangler says. “So these programs benefit the constituents of the very states of the congresspeople who will probably vote to kill them. That’s what’s kind of sad and ironic.”\u003c/p>\n\u003cp>Congress has considered proposals to kill federal arts and culture funding before, and rejected them.\u003c/p>\n\u003cp>“We’re not going to drop like a wet rock out of the sky tomorrow,” says Kitchener.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://californiansforthearts.org/board-of-directors/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area Executive Director Brad Erickson\u003c/a> is heading a delegation of state arts leaders flying to Washington on Monday and Tuesday (March 20 and 21) to lobby Congress on what they’re calling an \u003ca href=\"http://www.americansforthearts.org/events/arts-advocacy-day\" target=\"_blank\" rel=\"noopener\">Arts Advocacy Day\u003c/a>. They promise they’ll be calling on Representative Ken Calvert, who represents Riverside County and who chairs the interior subcommittee which oversees the NEA budget.\u003c/p>\n\u003cp>Says CAC director Watson: “This is the beginning of the battle.”\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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"title": "In California, the 'Beginning of the Battle' to Save Arts Funding | KQED",
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"headline": "In California, the 'Beginning of the Battle' to Save Arts Funding",
"datePublished": "2017-03-17T06:00:21-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the official release of President Trump’s proposed budget on Thursday, arts leaders in California weren’t surprised to see the elimination of the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a> (NEA) and the \u003ca href=\"https://www.neh.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Humanities \u003c/a>(NEH) among the cuts. But that doesn’t mean they’re not worried about the survival of dozens of arts programs across the state, many of them serving immigrant and poor communities.\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>“It’s a significant blow,” says California Arts Council director Craig Watson. “Our fear is that even a loss of modest funding will have a ripple effect through local neighborhoods, and the neighborhoods that are least able to afford those losses.”\u003c/p>\n\u003cp>Watson says individual grants aren’t that large. In total, the NEA split $7.8 million among 119 grantees in California this year (2016-2017), while another $1.2 million went to the California Arts Council. But grantees have to match every dollar from other donors, in part to demonstrate public support for their programming or artworks. Groups say they can leverage an NEA grant nine times.\u003c/p>\n\u003cp>The Alliance for California Traditional Arts (ACTA) received $120,000 from the NEA last year, and the group stretched that money to support the work of everyone from Ohlone basket weavers to producers of Vietnamese opera and Cowboy poets.\u003c/p>\n\u003cfigure id=\"attachment_12911339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12911339 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg\" alt=\"Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez. \u003ccite>(Photo: Courtesy California Arts Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the thing that really is alarming about eliminating this agency,” says ACTA director Amy Kitchener. “There really is a fragile ecosystem for the arts in this country.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cuts could also mean more empty galleries at museums. The NEA underwrites temporary insurance for artwork in traveling exhibitions, an often otherwise prohibitive cost even for larger museums.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (SFMOMA) director Neal Benezra says the museum couldn’t have co-curated its current \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">\u003cem>Matisse/Diebenkorn\u003c/em> \u003c/a>show without NEA support, seeing as paintings by Matisse are valued in the \u003ca href=\"http://www.independent.co.uk/arts-entertainment/art/matisse-sets-new-49-million-dollar-record-in-new-york-2126992.html\" target=\"_blank\" rel=\"noopener\">millions and tens of millions of dollars\u003c/a>. “For many of our visitors,” Benezra wrote in an email, “these exhibitions represent the only opportunity in their lifetimes to enjoy and learn from these important works and the artists who created them.”\u003c/p>\n\u003cfigure id=\"attachment_12876000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12876000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg\" alt=\"Matisse's Goldfish and Palette next to Diebenkorn's Urbana #5- showing the affinities between the two artists in a show at SFMOMA\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matisse’s ‘Goldfish and Palette’ next to Diebenkorn’s ‘Urbana #5’ — showing the affinities between the two artists in a show at SFMOMA. \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>President Trump has also proposed eliminating the \u003ca href=\"https://www.imls.gov/\" target=\"_blank\" rel=\"noopener\">Institute for Museum and Library Science\u003c/a>, which helped fund SFMOMA’s new Photography Interpretive Gallery.\u003c/p>\n\u003cp>The same fate would also befall the National Endowment for the Humanities, which funds dozens of scholarly programs in California. The NEH has given San Jose State Associate Professor Matthew Spangler approximately $500,000 over the past three years, which he’s used to run a summer institute for K-12 teachers from around the country about the immigrant experience in California. As part of the program, the teachers are able to meet with authors ranging from Khaled Hosseini to Luis Valdez and Maxine Hong Kingston.\u003c/p>\n\u003cp>“The teachers come from all over — rural Georgia, Ohio, Wyoming, Alaska, New York — and they go back to do their schools rejuvenated,” Spangler says. “So these programs benefit the constituents of the very states of the congresspeople who will probably vote to kill them. That’s what’s kind of sad and ironic.”\u003c/p>\n\u003cp>Congress has considered proposals to kill federal arts and culture funding before, and rejected them.\u003c/p>\n\u003cp>“We’re not going to drop like a wet rock out of the sky tomorrow,” says Kitchener.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://californiansforthearts.org/board-of-directors/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area Executive Director Brad Erickson\u003c/a> is heading a delegation of state arts leaders flying to Washington on Monday and Tuesday (March 20 and 21) to lobby Congress on what they’re calling an \u003ca href=\"http://www.americansforthearts.org/events/arts-advocacy-day\" target=\"_blank\" rel=\"noopener\">Arts Advocacy Day\u003c/a>. They promise they’ll be calling on Representative Ken Calvert, who represents Riverside County and who chairs the interior subcommittee which oversees the NEA budget.\u003c/p>\n\u003cp>Says CAC director Watson: “This is the beginning of the battle.”\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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"title": "Cy and David's Picks: Sisters on Stage, Gods and Monsters, and a Highway Queen",
"headTitle": "Cy and David’s Picks: Sisters on Stage, Gods and Monsters, and a Highway Queen | KQED",
"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170317.mp3\u003c/p>\n\u003cp>David and I talked off-air this morning about President Trump’s proposed budget, which we learned this week would kill funding for the \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts and the National Endowment for the Humanities\u003c/a>. The groups have supported hundreds of Bay Area arts groups and cultural programs over the years, including many we cover on the The Do List. \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a> is encouraging individuals (that’s you, our listeners and readers) to contact their elected representatives to voice their support (or criticism) of the NEA. \u003ca href=\"https://www.votervoice.net/ARTSUSA/Campaigns/47344/Respond\" target=\"_blank\" rel=\"noopener\">Here’s where to go.\u003c/a> And now the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zcvQL8_ZP20\u003c/p>\n\u003cp>\u003cstrong>March 23\u003c/strong>: \u003ca href=\"https://www.nikkilane.com/\" target=\"_blank\" rel=\"noopener\">Nikki Lane\u003c/a> didn’t start writing songs until a bad breakup at the age of 25. She says she was working too hard, paying the bills, to even dream about a music career. But now Lane is a Nashville singer-songwriter — and successful enough to own her own vintage clothing store called High Class Hillbilly. Her new album is a great example of how to marry rock and country-western without compromising either; just listen to the guitar solo opening “700,000 Rednecks,” her tribute to her South Carolina hometown. This is the soundtrack for my next road trip. Details for her show on March 23 at the Social Hall in San Francisco \u003ca href=\"http://www.socialhallsf.com/events/detail/328647\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ColFlk7UPZk\u003c/p>\n\u003cp>\u003cstrong>March 29\u003c/strong>: Travis Wall is a choreographer and dancer best known for his work on the show \u003ca href=\"http://www.fox.com/so-you-think-you-can-dance\" target=\"_blank\" rel=\"noopener\">\u003cem>So You Think You Can Dance\u003c/em>\u003c/a>, where he debuted at the age of 19. (David says it’s still the only TV dance show he likes.) Now Wall is leading the dance company \u003ca href=\"http://www.shapingsoundco.com/\" target=\"_blank\" rel=\"noopener\">Shaping Sound\u003c/a>, and they’re touring with a new show called \u003cem>After The Curtain. \u003c/em>Among the dozen dancers in the company is Nick Lazzarini, who grew up in Mountain View. Expect a mix of modern dance, tap, and the very athletic styles favored by TV choreographers. Details for his show Wednesday at San Jose’s Center for the Performing Arts are \u003ca href=\"http://sanjosetheaters.org/event/travis-walls-shaping-sound-curtain/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rPgxT-xV2SU\u003c/p>\n\u003cp>\u003cstrong>March 16–18\u003c/strong>: Tap dancing happens when jazz musicians play a tune with their feet. No one is doing it better today than Michelle Dorrance and her fellow tappers of Dorrance Dance, including Toshi Reagon. They’re cherishing and pushing this tradition in their show \u003cem>The Blues Project\u003c/em>. Details on their three nights at the Yerba Buena Center for the Arts \u003ca href=\"http://sfperformances.org/performances/1617/DorranceDance.html?gclid=CJnGmYun3NICFUJrfgodqQgDWw\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wRwNUvCXP_8\u003c/p>\n\u003cp>\u003cstrong>March 22 & June 28–July 1:\u003c/strong> Nicholas Phan is one of our favorite Bay Area singers, a tenor with a gorgeous voice. He’s got a new album out called \u003cem>Gods and Monsters\u003c/em>, for which he’s picked songs from the romantic era, many of which tell stories out of the Greek myths that Phan loved growing up. Phan told me the other day he doesn’t do much opera, and that he’s more at home in an intimate setting singing art songs. “And what’s amazing about it is in these little miniatures,” he said, “there are these giant concepts, and this giant music, and the range that’s required is so big — bigger, in fact, than what’s required in opera sometimes. It’s like Pandora’s box, it looks really tiny on the outside, but you open it up and it’s full of these amazing monstrous and beautiful things inside.” Find details for Phan’s recital at the Hotel Rex on Wednesday \u003ca href=\"http://sfperformances.org/performances/1617/NicholasPhan.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And then he’s paired with Sasha Cooke singing \u003cem>Romeo and Juliet\u003c/em> by Hector Berlioz with the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/MTT-conducts-Berlioz-Romeo-and-Juliet.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony from June 28–July 1st\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12910328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12910328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg\" alt=\"‘Calligraphy’ tells the story of two estranged sisters, and their daughters efforts to reunite them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Calligraphy’ tells the story of two estranged sisters, and their daughters’ efforts to reunite them. \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 2\u003c/strong>: There are a lot of sisters on Bay Area stages right now. \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">Theatreworks \u003c/a>is opening \u003cem>Calligraphy\u003c/em>, by \u003ca href=\"http://www.velinahasuhouston.com/\" target=\"_blank\" rel=\"noopener\">Velina Hasu Houston\u003c/a>. It’s a sometimes comic story about the efforts of two cousins to bring together their mothers, who are estranged Japanese sisters (one living in the U.S., one still in Japan), even as Alzheimer’s strips the Japanese sister of her memories. Details for the run at Theatreworks in Palo Alto \u003ca href=\"https://www.theatreworks.org/calendar/2016-2017-season/calligraphy/\" target=\"_blank\" rel=\"noopener\">are here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ukrJ4QQEh6c\u003c/p>\n\u003cp>\u003cstrong>Continuing through April 1:\u003c/strong> Meanwhile \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater \u003c/a>is doing another story of sisters in Mia Chung’s play \u003cem>You For Me For You. \u003c/em>It’s about two North Korean sisters trying to escape the “Best Nation in the World,” how they’re torn apart, and how they fight to reunite. Details for the show at the Portrero Stage in San Francisco are \u003ca href=\"http://www.crowdedfire.org/you-for-me-for-you/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FDOLKSp2AWU\u003c/p>\n\u003cp>\u003cstrong>March 21:\u003c/strong> \u003ca href=\"https://www.mergerecords.com/teenage-fanclub\" target=\"_blank\" rel=\"noopener\">Teenage Fanclub \u003c/a>(Norman Blake, Gerard Love, and Raymond McGinley) make the smoothest, warmest, most uplifting pop you can imagine, and they make it seem easy. They’re back touring the U.S. after a long absence, and with a new album. If you loved them in the ’90s, take a younger friend to their show at the \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Tuesday, and enlighten them. Details \u003ca href=\"http://www.slimspresents.com/event/teenage-fanclub-gamh-w-britta-phillips/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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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"excerpt": "This week, The Do List features countrypolitan star Nikki Lane, tenor Nick Phan, two plays about sisters, and the return of Teenage Fanclub.",
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"title": "Cy and David's Picks: Sisters on Stage, Gods and Monsters, and a Highway Queen | KQED",
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"headline": "Cy and David's Picks: Sisters on Stage, Gods and Monsters, and a Highway Queen",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170317.mp3\u003c/p>\n\u003cp>David and I talked off-air this morning about President Trump’s proposed budget, which we learned this week would kill funding for the \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts and the National Endowment for the Humanities\u003c/a>. The groups have supported hundreds of Bay Area arts groups and cultural programs over the years, including many we cover on the The Do List. \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a> is encouraging individuals (that’s you, our listeners and readers) to contact their elected representatives to voice their support (or criticism) of the NEA. \u003ca href=\"https://www.votervoice.net/ARTSUSA/Campaigns/47344/Respond\" target=\"_blank\" rel=\"noopener\">Here’s where to go.\u003c/a> And now 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/zcvQL8_ZP20'\n title='//www.youtube.com/embed/zcvQL8_ZP20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 23\u003c/strong>: \u003ca href=\"https://www.nikkilane.com/\" target=\"_blank\" rel=\"noopener\">Nikki Lane\u003c/a> didn’t start writing songs until a bad breakup at the age of 25. She says she was working too hard, paying the bills, to even dream about a music career. But now Lane is a Nashville singer-songwriter — and successful enough to own her own vintage clothing store called High Class Hillbilly. Her new album is a great example of how to marry rock and country-western without compromising either; just listen to the guitar solo opening “700,000 Rednecks,” her tribute to her South Carolina hometown. This is the soundtrack for my next road trip. Details for her show on March 23 at the Social Hall in San Francisco \u003ca href=\"http://www.socialhallsf.com/events/detail/328647\" target=\"_blank\" rel=\"noopener\">are 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/ColFlk7UPZk'\n title='//www.youtube.com/embed/ColFlk7UPZk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 29\u003c/strong>: Travis Wall is a choreographer and dancer best known for his work on the show \u003ca href=\"http://www.fox.com/so-you-think-you-can-dance\" target=\"_blank\" rel=\"noopener\">\u003cem>So You Think You Can Dance\u003c/em>\u003c/a>, where he debuted at the age of 19. (David says it’s still the only TV dance show he likes.) Now Wall is leading the dance company \u003ca href=\"http://www.shapingsoundco.com/\" target=\"_blank\" rel=\"noopener\">Shaping Sound\u003c/a>, and they’re touring with a new show called \u003cem>After The Curtain. \u003c/em>Among the dozen dancers in the company is Nick Lazzarini, who grew up in Mountain View. Expect a mix of modern dance, tap, and the very athletic styles favored by TV choreographers. Details for his show Wednesday at San Jose’s Center for the Performing Arts are \u003ca href=\"http://sanjosetheaters.org/event/travis-walls-shaping-sound-curtain/\" 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/rPgxT-xV2SU'\n title='//www.youtube.com/embed/rPgxT-xV2SU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 16–18\u003c/strong>: Tap dancing happens when jazz musicians play a tune with their feet. No one is doing it better today than Michelle Dorrance and her fellow tappers of Dorrance Dance, including Toshi Reagon. They’re cherishing and pushing this tradition in their show \u003cem>The Blues Project\u003c/em>. Details on their three nights at the Yerba Buena Center for the Arts \u003ca href=\"http://sfperformances.org/performances/1617/DorranceDance.html?gclid=CJnGmYun3NICFUJrfgodqQgDWw\" target=\"_blank\" rel=\"noopener\">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/wRwNUvCXP_8'\n title='//www.youtube.com/embed/wRwNUvCXP_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 22 & June 28–July 1:\u003c/strong> Nicholas Phan is one of our favorite Bay Area singers, a tenor with a gorgeous voice. He’s got a new album out called \u003cem>Gods and Monsters\u003c/em>, for which he’s picked songs from the romantic era, many of which tell stories out of the Greek myths that Phan loved growing up. Phan told me the other day he doesn’t do much opera, and that he’s more at home in an intimate setting singing art songs. “And what’s amazing about it is in these little miniatures,” he said, “there are these giant concepts, and this giant music, and the range that’s required is so big — bigger, in fact, than what’s required in opera sometimes. It’s like Pandora’s box, it looks really tiny on the outside, but you open it up and it’s full of these amazing monstrous and beautiful things inside.” Find details for Phan’s recital at the Hotel Rex on Wednesday \u003ca href=\"http://sfperformances.org/performances/1617/NicholasPhan.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And then he’s paired with Sasha Cooke singing \u003cem>Romeo and Juliet\u003c/em> by Hector Berlioz with the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/MTT-conducts-Berlioz-Romeo-and-Juliet.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony from June 28–July 1st\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12910328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12910328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg\" alt=\"‘Calligraphy’ tells the story of two estranged sisters, and their daughters efforts to reunite them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Calligraphy’ tells the story of two estranged sisters, and their daughters’ efforts to reunite them. \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 2\u003c/strong>: There are a lot of sisters on Bay Area stages right now. \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">Theatreworks \u003c/a>is opening \u003cem>Calligraphy\u003c/em>, by \u003ca href=\"http://www.velinahasuhouston.com/\" target=\"_blank\" rel=\"noopener\">Velina Hasu Houston\u003c/a>. It’s a sometimes comic story about the efforts of two cousins to bring together their mothers, who are estranged Japanese sisters (one living in the U.S., one still in Japan), even as Alzheimer’s strips the Japanese sister of her memories. Details for the run at Theatreworks in Palo Alto \u003ca href=\"https://www.theatreworks.org/calendar/2016-2017-season/calligraphy/\" target=\"_blank\" rel=\"noopener\">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/ukrJ4QQEh6c'\n title='//www.youtube.com/embed/ukrJ4QQEh6c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through April 1:\u003c/strong> Meanwhile \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater \u003c/a>is doing another story of sisters in Mia Chung’s play \u003cem>You For Me For You. \u003c/em>It’s about two North Korean sisters trying to escape the “Best Nation in the World,” how they’re torn apart, and how they fight to reunite. Details for the show at the Portrero Stage in San Francisco are \u003ca href=\"http://www.crowdedfire.org/you-for-me-for-you/\" 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/FDOLKSp2AWU'\n title='//www.youtube.com/embed/FDOLKSp2AWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 21:\u003c/strong> \u003ca href=\"https://www.mergerecords.com/teenage-fanclub\" target=\"_blank\" rel=\"noopener\">Teenage Fanclub \u003c/a>(Norman Blake, Gerard Love, and Raymond McGinley) make the smoothest, warmest, most uplifting pop you can imagine, and they make it seem easy. They’re back touring the U.S. after a long absence, and with a new album. If you loved them in the ’90s, take a younger friend to their show at the \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Tuesday, and enlighten them. Details \u003ca href=\"http://www.slimspresents.com/event/teenage-fanclub-gamh-w-britta-phillips/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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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"title": "A Blind Theatergoer's 'Hamilton' Lawsuit Aims Spotlight On Broadway Accessibility",
"headTitle": "A Blind Theatergoer’s ‘Hamilton’ Lawsuit Aims Spotlight On Broadway Accessibility | KQED",
"content": "\u003cp>A recent lawsuit brought by a blind theatergoer against the producers of the hit musical \u003cem>Hamilton\u003c/em> has highlighted Broadway’s spotty track record in serving audiences with disabilities.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> opened almost a year and a half ago, but it’s \u003ca href=\"http://www.npr.org/2016/04/09/473503407/lin-manuel-miranda-talks-hamilton-once-a-ridiculous-pitch-now-a-revolution\">still the hottest ticket\u003c/a> on Broadway. Mark Lasser of Denver, who is blind, wanted to take his wife to the show and get audio description services to help him enjoy a performance. That means he hoped to get a headset and hear the stage action being described in real time, during the show. But he discovered that \u003cem>Hamilton\u003c/em> doesn’t offer this particular service.\u003c/p>\n\u003cp>“I think what this suit brings to light is that you have a hidden population out there that is not gaining the full access to Broadway,” says attorney \u003ca href=\"http://www.dininlaw.com/ada-claims/\" target=\"_blank\" rel=\"noopener\">Scott Dinin\u003c/a>, who is representing Lasser in the \u003ca href=\"https://www.classaction.org/blog/hamilton-production-companies-hit-with-civil-rights-class-action-lawsuit\">class-action suit\u003c/a> against the show’s producers and theater owner.\u003c/p>\n\u003cp>“Sometimes you need a lawsuit like this to bring this to the public’s attention,” Dinin says.\u003c/p>\n\u003cfigure id=\"attachment_11277676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg\" alt=\"Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11277676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON. \u003ccite>(Photo Credit: Joan Marcus )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Broadway has taken great strides in the decades since the Americans with Disabilities Act, or ADA, was passed in 1990. Last year, a new website called \u003ca href=\"http://www.theatreaccess.nyc/\" target=\"_blank\" rel=\"noopener\">Theatre Access NYC\u003c/a> launched — a collaboration between the \u003ca href=\"https://www.broadwayleague.com/home/\" target=\"_blank\" rel=\"noopener\">Broadway League\u003c/a>, which represents producers and theater owners, and the \u003ca href=\"https://www.tdf.org/\" target=\"_blank\" rel=\"noopener\">Theatre Development Fund\u003c/a>, a nonprofit that offers discount tickets and services to theatergoers with disabilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.tdf.org/nyc/46/TDF-Staff-Board-of-Trustees\" target=\"_blank\" rel=\"noopener\">Lisa Carling\u003c/a>, TDF’s director of accessibility programs, says the goal of the website is to provide one stop where people with disabilities can find accessible performances.\u003c/p>\n\u003cp>A quick glance shows that most Broadway theaters are wheelchair accessible and offer open captioning and hearing assistance devices; there are also occasional special performances for people on the autism spectrum. But only \u003cem>four\u003c/em> long-running musicals, including \u003cem>The Lion King\u003c/em> and \u003cem>The Book of Mormon,\u003c/em> offer audio description.\u003c/p>\n\u003cp>Audio description has been around since the 1980s, says \u003ca href=\"https://www.accessibilityonline.org/ada-con/speakers/10570/?ret=speakers\" target=\"_blank\" rel=\"noopener\">Mark Annunziato\u003c/a>, vice president for operations and engineering at Sound Associates, a company that rents audio and video equipment to Broadway shows and develops audio description services.\u003c/p>\n\u003cp>In the past, groups of blind and low-vision customers attended special performances with a live interpreter. Since Broadway shows now use computers to trigger light, set and sound cues, automated audio description can be set up to work with those systems and offered at \u003cem>every\u003c/em> performance, with minimal cost — especially when Broadway musicals have budgets between $5 million and $25 million.\u003c/p>\n\u003cfigure id=\"attachment_11453177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg\" alt=\"Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11453177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg 886w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during ‘Hamilton’ GRAMMY performance \u003ccite>(Photo: Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The base system varies, but it usually ranges in and around $20,000,” Annunziato says. “So that would be the automation system, the computer system and the wireless broadcast system to all the devices.”\u003c/p>\n\u003cp>Then add $5,000 more to write, record and sync a script, and a monthly maintenance fee. When you’re talking about a hit show, the cost of setting up an audio description system more than pays for itself, says \u003ca href=\"http://www.hesherman.com/about/\" target=\"_blank\" rel=\"noopener\">Howard Sherman\u003c/a>, of the Alliance for Inclusion in the Arts.\u003c/p>\n\u003cp>“Certainly once a show sets up a sustained run — and when we look at musicals that run five, 10, 15, 20 years — it really is a very small price to pay for opening up a show to a much, much wider audience,” Sherman says.\u003c/p>\n\u003cp>That’s really what Dinin, Lasser’s attorney, is trying to say with this legal action. He is not seeking damages for his client — he can’t, under the terms of the ADA. He is trying to make sure that theater becomes more inclusive, by spotlighting the problem, using Broadway’s biggest hit.\u003c/p>\n\u003cp>“Audio description is so necessary,” Dinin says. “It’s the right thing to do. It’s not that expensive. And it’s just a thinking process. It’s a mindset. We have to get a mindset: How do we increase inclusion? It should be top-of-mind. Equality, accommodation and respect. Because once people put that at the decision-making table, all the services will flow from that.”\u003c/p>\n\u003cp>With the case ongoing, \u003cem>Hamilton\u003c/em>‘s producers declined to comment for this story. So did a number of other Broadway producers.\u003c/p>\n\u003cp>\u003cb>NOTE:\u003c/b>\u003ci>KQED has reached out to SHN, the promoters behind the Hamilton run in San Francisco. As of Wednesday morning, they had not replied to our email.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radio editor Tom Cole and Web producer Beth Novey contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Blind+Theatergoer%27s+%27Hamilton%27+Lawsuit+Aims+Spotlight+On+Broadway+Accessibility&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The class-action suit brought against the hit musical doesn't seek damages. The attorneys say the hope is to draw attention to Broadway's spotty record in serving audiences with disabilities.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A recent lawsuit brought by a blind theatergoer against the producers of the hit musical \u003cem>Hamilton\u003c/em> has highlighted Broadway’s spotty track record in serving audiences with disabilities.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> opened almost a year and a half ago, but it’s \u003ca href=\"http://www.npr.org/2016/04/09/473503407/lin-manuel-miranda-talks-hamilton-once-a-ridiculous-pitch-now-a-revolution\">still the hottest ticket\u003c/a> on Broadway. Mark Lasser of Denver, who is blind, wanted to take his wife to the show and get audio description services to help him enjoy a performance. That means he hoped to get a headset and hear the stage action being described in real time, during the show. But he discovered that \u003cem>Hamilton\u003c/em> doesn’t offer this particular service.\u003c/p>\n\u003cp>“I think what this suit brings to light is that you have a hidden population out there that is not gaining the full access to Broadway,” says attorney \u003ca href=\"http://www.dininlaw.com/ada-claims/\" target=\"_blank\" rel=\"noopener\">Scott Dinin\u003c/a>, who is representing Lasser in the \u003ca href=\"https://www.classaction.org/blog/hamilton-production-companies-hit-with-civil-rights-class-action-lawsuit\">class-action suit\u003c/a> against the show’s producers and theater owner.\u003c/p>\n\u003cp>“Sometimes you need a lawsuit like this to bring this to the public’s attention,” Dinin says.\u003c/p>\n\u003cfigure id=\"attachment_11277676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg\" alt=\"Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11277676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON. \u003ccite>(Photo Credit: Joan Marcus )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Broadway has taken great strides in the decades since the Americans with Disabilities Act, or ADA, was passed in 1990. Last year, a new website called \u003ca href=\"http://www.theatreaccess.nyc/\" target=\"_blank\" rel=\"noopener\">Theatre Access NYC\u003c/a> launched — a collaboration between the \u003ca href=\"https://www.broadwayleague.com/home/\" target=\"_blank\" rel=\"noopener\">Broadway League\u003c/a>, which represents producers and theater owners, and the \u003ca href=\"https://www.tdf.org/\" target=\"_blank\" rel=\"noopener\">Theatre Development Fund\u003c/a>, a nonprofit that offers discount tickets and services to theatergoers with disabilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.tdf.org/nyc/46/TDF-Staff-Board-of-Trustees\" target=\"_blank\" rel=\"noopener\">Lisa Carling\u003c/a>, TDF’s director of accessibility programs, says the goal of the website is to provide one stop where people with disabilities can find accessible performances.\u003c/p>\n\u003cp>A quick glance shows that most Broadway theaters are wheelchair accessible and offer open captioning and hearing assistance devices; there are also occasional special performances for people on the autism spectrum. But only \u003cem>four\u003c/em> long-running musicals, including \u003cem>The Lion King\u003c/em> and \u003cem>The Book of Mormon,\u003c/em> offer audio description.\u003c/p>\n\u003cp>Audio description has been around since the 1980s, says \u003ca href=\"https://www.accessibilityonline.org/ada-con/speakers/10570/?ret=speakers\" target=\"_blank\" rel=\"noopener\">Mark Annunziato\u003c/a>, vice president for operations and engineering at Sound Associates, a company that rents audio and video equipment to Broadway shows and develops audio description services.\u003c/p>\n\u003cp>In the past, groups of blind and low-vision customers attended special performances with a live interpreter. Since Broadway shows now use computers to trigger light, set and sound cues, automated audio description can be set up to work with those systems and offered at \u003cem>every\u003c/em> performance, with minimal cost — especially when Broadway musicals have budgets between $5 million and $25 million.\u003c/p>\n\u003cfigure id=\"attachment_11453177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg\" alt=\"Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11453177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg 886w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during ‘Hamilton’ GRAMMY performance \u003ccite>(Photo: Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The base system varies, but it usually ranges in and around $20,000,” Annunziato says. “So that would be the automation system, the computer system and the wireless broadcast system to all the devices.”\u003c/p>\n\u003cp>Then add $5,000 more to write, record and sync a script, and a monthly maintenance fee. When you’re talking about a hit show, the cost of setting up an audio description system more than pays for itself, says \u003ca href=\"http://www.hesherman.com/about/\" target=\"_blank\" rel=\"noopener\">Howard Sherman\u003c/a>, of the Alliance for Inclusion in the Arts.\u003c/p>\n\u003cp>“Certainly once a show sets up a sustained run — and when we look at musicals that run five, 10, 15, 20 years — it really is a very small price to pay for opening up a show to a much, much wider audience,” Sherman says.\u003c/p>\n\u003cp>That’s really what Dinin, Lasser’s attorney, is trying to say with this legal action. He is not seeking damages for his client — he can’t, under the terms of the ADA. He is trying to make sure that theater becomes more inclusive, by spotlighting the problem, using Broadway’s biggest hit.\u003c/p>\n\u003cp>“Audio description is so necessary,” Dinin says. “It’s the right thing to do. It’s not that expensive. And it’s just a thinking process. It’s a mindset. We have to get a mindset: How do we increase inclusion? It should be top-of-mind. Equality, accommodation and respect. Because once people put that at the decision-making table, all the services will flow from that.”\u003c/p>\n\u003cp>With the case ongoing, \u003cem>Hamilton\u003c/em>‘s producers declined to comment for this story. So did a number of other Broadway producers.\u003c/p>\n\u003cp>\u003cb>NOTE:\u003c/b>\u003ci>KQED has reached out to SHN, the promoters behind the Hamilton run in San Francisco. As of Wednesday morning, they had not replied to our email.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radio editor Tom Cole and Web producer Beth Novey contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Blind+Theatergoer%27s+%27Hamilton%27+Lawsuit+Aims+Spotlight+On+Broadway+Accessibility&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead",
"headTitle": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead | KQED",
"content": "\u003cp>Like most people who hear the words “Pussy Riot musical,” I arrived at the Regency Ballroom on Friday night not quite knowing what to expect. But lack of clarity about what we were about to witness didn’t seem to temper enthusiasm: A crowd of visibly excited people, mostly women — some of whom were wearing their pink hats from the Women’s March — piled into the third-floor lounge on March 10 for \u003cem>Revolution\u003c/em>, a new multimedia musical theater piece based on the forthcoming memoir of Pussy Riot’s Maria Alyokhina.\u003c/p>\n\u003cp>It marked another chapter for the activist/music collective, who first arrived in mainstream consciousness in 2012 after staging an anti-Putin protest at a Moscow cathedral. When members Maria Alyokhina and her bandmate Nadezhda Tolokonnikova received two-year sentences for a protest that lasted only 40 seconds, their plight as political prisoners made international headlines.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=grEBLskpDWQ\u003c/p>\n\u003cp>But for progressive Russian immigrants like myself, Pussy Riot became beacons of possibility. Authoritarianism has been ubiquitous in our home country for so long, most people don’t see the point of fighting. Centuries of political oppression have rendered Russian people cynical to the point of nihilism. The fact that a group of young women put themselves at risk to speak out in such a dramatic way was nothing short of revolutionary.\u003c/p>\n\u003cp>After their arrest, Pussy Riot came to be regarded as symbols of resistance abroad. Their brash feminism resonated with American audiences who were already primed on several decades of women’s liberation movements. Meanwhile, in Russia, their views were seen as fringe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But interesting things happened when Pussy Riot was released in 2013: Tolokonnikova and Alyokhina became activist-celebrities and seemed to enjoy their newfound fame. When they appeared on an episode of \u003cem>House of Cards\u003c/em>, where they criticized a fictional version of Putin at a dinner in Frank Underwood’s White House, some of my young, feminist Russian-American friends accused them of being too Hollywood. “Hadn’t they just served two years in a penal colony?” I thought. “If they want to have some fun now, we should let them live.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s-bKFo30o2o\u003c/p>\n\u003cp>Still, something seemed to be lost in translation in Pussy Riot’s attempts to cross over into mainstream America. In 2016, Tolokonnikova released two English-language singles as Pussy Riot, seemingly without the other group members’ involvement: “Make America Great Again” was an anti-Trump song set to an awkward combination of folk guitar and trap drums. And “Straight Outta Vagina,” a play on NWA’s “Straight Outta Compton,” presented itself as a radical, feminist statement. But with lyrics like \u003cem>Does your vagina have a brand?/Let your vagina start a band\u003c/em>, it came off as nonsensical at best and equating women with their genitals at worst.\u003c/p>\n\u003cp>Alyokhina’s \u003cem>Revolution, \u003c/em>which moved onto L.A. after one night in San Francisco on this national tour, taps into Pussy Riot’s legacy of avant-garde performance art in a much more authentic way.\u003c/p>\n\u003cp>Alyokhina took the stage with three collaborators: Nastia and Max (who go only by their first names) of “junk-punk” duo Asian Women on the Telephone, as well as actor Kiryl Masheka. Alyokhina and Masheka narrated, in Russian, the tale of Pussy Riot’s now famous 2012 “Punk Prayer” protest and subsequent incarceration in a remote, Siberian penal colony. A video projection with footage of the protest, courtroom drawings, and images from the penal colony played in the background, along with English subtitles to translate the dialogue on stage. Meanwhile, Nastia and Max played a live noise-punk soundtrack with drums, saxophone, and electronics.\u003c/p>\n\u003cp>It’s worth noting that director Yury Muravitsky wasn’t in attendance because, said Alyokhina, he was denied a travel visa into the United States. The reasons for the denial are unclear, but with the work’s subversive content — and the parallels between its critiques of Putin and anti-Trump rhetoric, along with the current debate over Trump’s travel ban — that news was enough to cause murmurs in the audience.\u003c/p>\n\u003cp>The performance was scrappy, but the DIY feel gave it plenty of charm. The actors actually had to restart the show after a few minutes because they had discovered that the subtitles weren’t showing up. But the audience only cheered louder the second time they declared “What about the revolution?” in the prologue. It’s also worth remembering, of course, Pussy Riot started out as a loose, informal collective of liberal arts students who staged guerrilla actions in public places and put videos of them on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_12895731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg\" alt=\"'Revolution': Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1180x708.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-960x576.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-520x312.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Revolution’: Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \u003ccite>(Glen Casebeer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Revolution\u003c/em> was also a bit of a sensory overload, between Alyokhina’s motor-mouth monologues, the footage, and the experimental soundtrack vying for the viewers’ attention at once. She and the other actor would often break into song: he danced around like the frontman of a punk band as she recited her lines with an intense rigidity befitting her interpretations of Russian legal jargon and political rhetoric. The jumble of stimuli on stage created a Kafka-esque sense of confusion that conveyed, on an emotional level, the counterintuitive belief systems and Orwellian double-think required to sustain an authoritarian state.\u003c/p>\n\u003cp>A particularly emotive moment came as Alyokhina described being driven to the remote Siberian penal colony in an autozak (a Russian vehicle whose name is literally an acronym for “automobile for transporting the incarcerated”). “Next time you’re passing an autozak on the freeway, look closely. You might notice the eyes of an incarcerated person looking at you,” she said in Russian.\u003c/p>\n\u003cfigure id=\"attachment_12899708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12899708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-800x599.jpg\" alt=\"Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia. \u003ccite>(Sergei Karpukhin via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Pussy Riot’s infamous arrest, Putin’s approval ratings have grown to 83 percent. There was a resistance movement, the so-called Snow Revolution of 2011, but over time, people grew complacent. Russia doesn’t have a viable opposition party; Putin’s outspoken critics, such as the former deputy prime minister Boris Nemtsov, mysteriously wind up dead; and public protests require permits from the state. Needless to say, it should be extremely alarming that the extent of Russia’s ties to the Trump administration are not yet known.\u003c/p>\n\u003cp>Alyokhina’s ultimate goal is to bring \u003cem>Revolution\u003c/em> to Russia — yes, her theater production, but also an actual revolution. Despite the traumatizing experiences she’s been through, she’s still fighting. That’s a powerful lesson for her American audience: that the fight for freedom is a slow, messy one; that one Women’s March isn’t enough to challenge the authoritarianism creeping into American politics; and that even though it’s hard, one needs to keep resisting.\u003c/p>\n\u003cp>Or, as Alyokhina said during the Q&A portion of the event: “The most dangerous prison is that which you can build inside your head.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"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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"excerpt": "At a time when anti-Putin protest and anti-Trump rhetoric look eerily similar, a new multimedia theater piece from Maria Alyokhina strikes a highly relevant note. ",
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"description": "At a time when anti-Putin protest and anti-Trump rhetoric look eerily similar, a new multimedia theater piece from Maria Alyokhina strikes a highly relevant note. ",
"title": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead | KQED",
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"headline": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most people who hear the words “Pussy Riot musical,” I arrived at the Regency Ballroom on Friday night not quite knowing what to expect. But lack of clarity about what we were about to witness didn’t seem to temper enthusiasm: A crowd of visibly excited people, mostly women — some of whom were wearing their pink hats from the Women’s March — piled into the third-floor lounge on March 10 for \u003cem>Revolution\u003c/em>, a new multimedia musical theater piece based on the forthcoming memoir of Pussy Riot’s Maria Alyokhina.\u003c/p>\n\u003cp>It marked another chapter for the activist/music collective, who first arrived in mainstream consciousness in 2012 after staging an anti-Putin protest at a Moscow cathedral. When members Maria Alyokhina and her bandmate Nadezhda Tolokonnikova received two-year sentences for a protest that lasted only 40 seconds, their plight as political prisoners made international headlines.\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/grEBLskpDWQ'\n title='//www.youtube.com/embed/grEBLskpDWQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But for progressive Russian immigrants like myself, Pussy Riot became beacons of possibility. Authoritarianism has been ubiquitous in our home country for so long, most people don’t see the point of fighting. Centuries of political oppression have rendered Russian people cynical to the point of nihilism. The fact that a group of young women put themselves at risk to speak out in such a dramatic way was nothing short of revolutionary.\u003c/p>\n\u003cp>After their arrest, Pussy Riot came to be regarded as symbols of resistance abroad. Their brash feminism resonated with American audiences who were already primed on several decades of women’s liberation movements. Meanwhile, in Russia, their views were seen as fringe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But interesting things happened when Pussy Riot was released in 2013: Tolokonnikova and Alyokhina became activist-celebrities and seemed to enjoy their newfound fame. When they appeared on an episode of \u003cem>House of Cards\u003c/em>, where they criticized a fictional version of Putin at a dinner in Frank Underwood’s White House, some of my young, feminist Russian-American friends accused them of being too Hollywood. “Hadn’t they just served two years in a penal colony?” I thought. “If they want to have some fun now, we should let them live.”\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/s-bKFo30o2o'\n title='//www.youtube.com/embed/s-bKFo30o2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, something seemed to be lost in translation in Pussy Riot’s attempts to cross over into mainstream America. In 2016, Tolokonnikova released two English-language singles as Pussy Riot, seemingly without the other group members’ involvement: “Make America Great Again” was an anti-Trump song set to an awkward combination of folk guitar and trap drums. And “Straight Outta Vagina,” a play on NWA’s “Straight Outta Compton,” presented itself as a radical, feminist statement. But with lyrics like \u003cem>Does your vagina have a brand?/Let your vagina start a band\u003c/em>, it came off as nonsensical at best and equating women with their genitals at worst.\u003c/p>\n\u003cp>Alyokhina’s \u003cem>Revolution, \u003c/em>which moved onto L.A. after one night in San Francisco on this national tour, taps into Pussy Riot’s legacy of avant-garde performance art in a much more authentic way.\u003c/p>\n\u003cp>Alyokhina took the stage with three collaborators: Nastia and Max (who go only by their first names) of “junk-punk” duo Asian Women on the Telephone, as well as actor Kiryl Masheka. Alyokhina and Masheka narrated, in Russian, the tale of Pussy Riot’s now famous 2012 “Punk Prayer” protest and subsequent incarceration in a remote, Siberian penal colony. A video projection with footage of the protest, courtroom drawings, and images from the penal colony played in the background, along with English subtitles to translate the dialogue on stage. Meanwhile, Nastia and Max played a live noise-punk soundtrack with drums, saxophone, and electronics.\u003c/p>\n\u003cp>It’s worth noting that director Yury Muravitsky wasn’t in attendance because, said Alyokhina, he was denied a travel visa into the United States. The reasons for the denial are unclear, but with the work’s subversive content — and the parallels between its critiques of Putin and anti-Trump rhetoric, along with the current debate over Trump’s travel ban — that news was enough to cause murmurs in the audience.\u003c/p>\n\u003cp>The performance was scrappy, but the DIY feel gave it plenty of charm. The actors actually had to restart the show after a few minutes because they had discovered that the subtitles weren’t showing up. But the audience only cheered louder the second time they declared “What about the revolution?” in the prologue. It’s also worth remembering, of course, Pussy Riot started out as a loose, informal collective of liberal arts students who staged guerrilla actions in public places and put videos of them on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_12895731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg\" alt=\"'Revolution': Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1180x708.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-960x576.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-520x312.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Revolution’: Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \u003ccite>(Glen Casebeer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Revolution\u003c/em> was also a bit of a sensory overload, between Alyokhina’s motor-mouth monologues, the footage, and the experimental soundtrack vying for the viewers’ attention at once. She and the other actor would often break into song: he danced around like the frontman of a punk band as she recited her lines with an intense rigidity befitting her interpretations of Russian legal jargon and political rhetoric. The jumble of stimuli on stage created a Kafka-esque sense of confusion that conveyed, on an emotional level, the counterintuitive belief systems and Orwellian double-think required to sustain an authoritarian state.\u003c/p>\n\u003cp>A particularly emotive moment came as Alyokhina described being driven to the remote Siberian penal colony in an autozak (a Russian vehicle whose name is literally an acronym for “automobile for transporting the incarcerated”). “Next time you’re passing an autozak on the freeway, look closely. You might notice the eyes of an incarcerated person looking at you,” she said in Russian.\u003c/p>\n\u003cfigure id=\"attachment_12899708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12899708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-800x599.jpg\" alt=\"Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia. \u003ccite>(Sergei Karpukhin via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Pussy Riot’s infamous arrest, Putin’s approval ratings have grown to 83 percent. There was a resistance movement, the so-called Snow Revolution of 2011, but over time, people grew complacent. Russia doesn’t have a viable opposition party; Putin’s outspoken critics, such as the former deputy prime minister Boris Nemtsov, mysteriously wind up dead; and public protests require permits from the state. Needless to say, it should be extremely alarming that the extent of Russia’s ties to the Trump administration are not yet known.\u003c/p>\n\u003cp>Alyokhina’s ultimate goal is to bring \u003cem>Revolution\u003c/em> to Russia — yes, her theater production, but also an actual revolution. Despite the traumatizing experiences she’s been through, she’s still fighting. That’s a powerful lesson for her American audience: that the fight for freedom is a slow, messy one; that one Women’s March isn’t enough to challenge the authoritarianism creeping into American politics; and that even though it’s hard, one needs to keep resisting.\u003c/p>\n\u003cp>Or, as Alyokhina said during the Q&A portion of the event: “The most dangerous prison is that which you can build inside your head.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cy-and-davids-picks-a-world-music-diva-a-play-about-war-in-africa-and-a-show-about-artistic-influence",
"title": "Cy and David's Picks: A World Music Diva, A Play about War in Africa, and a Show about Artistic Influence",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Both David and I are a bit groggy after a late evening at the opening of \u003ca href=\"http://www.fiascotheater.com/\" target=\"_blank\" rel=\"noopener\">Fiasco Theater\u003c/a>’s \u003ca href=\"http://www.sfchronicle.com/performance/article/Romp-Into-the-Woods-where-wishes-come-10989566.php\" target=\"_blank\" rel=\"noopener\">excellent stripped down production \u003c/a>of James Lapine and Stephen Sondheim’s musical \u003cem>Into the Woods\u003c/em>. Details for the run at SHN’s \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=intothewoods&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Golden Gate Theater through April 2 are here\u003c/a>. I’m also stoked to see Aaron Diehl and Cecile McLorin Salvant celebrate the music of Jelly Roll Morton and George Gershwin. They’re at \u003ca href=\"https://live.stanford.edu/calendar/march-2017/aaron-diehl-presents-jelly-and-george\" target=\"_blank\" rel=\"noopener\">Bing Concert Hall at Stanford\u003c/a>, \u003ca href=\"https://www.kuumbwajazz.org/calendar/2017-02/\" target=\"_blank\" rel=\"noopener\">Kuumbwa in Santa Cruz\u003c/a>, \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/jelly-and-george-featuring-aaron-diehl-and-cecile-mclorin-salvant\">the Mondavi Center in Davis\u003c/a> and \u003ca href=\"https://sfjazz.org/events/2016-17/0316/cecile-mclorin-salvant-aaron-diehl\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> — with\u003ca href=\"http://www.aarondiehl.com/booked-c1q5u\" target=\"_blank\" rel=\"noopener\"> details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qC8feW4gomo\u003c/p>\n\u003cp>\u003cstrong>March 11\u003c/strong>: \u003ca href=\"http://www.meklitmusic.com/new-page-1/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a> is one of the Bay Area’s most adventurous singers and songwriters. She’s Ethiopian-born, and a TED Fellow who brews her music out of jazz, soul, R&B and world music. Hadero has been busy lately curating \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">The Nile Project \u003c/a>(a touring group of Nile Delta musicians) and \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>’s tribute to Lauryn Hill, so it’s nice to see her focusing again on her own music — especially in the intimate setting of Bing Concert Hall’s new Rehearsal Studio, with its cocktail lounge feel. Details for Hadero’s show Saturday\u003ca href=\"https://live.stanford.edu/calendar/march-2017/meklit\" target=\"_blank\" rel=\"noopener\"> are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876203 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg\" alt=\"Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco. \u003ccite>(Photo: Little Fang/Curran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 7–19\u003c/strong>: \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eclipsed\u003c/em> \u003c/a>is a play about the brutal violence of the Liberian Civil War and the bitter lives of women held as sex slaves by a rebel officer. The show is remarkable as the first on Broadway produced by an \u003ca href=\"http://www.okayafrica.com/culture-2/eclipsed-on-broadway-makes-history/\" target=\"_blank\" rel=\"noopener\">all-black, all-women creative team\u003c/a>, including former director (and former Berkeley Rep Associate Director) \u003ca href=\"https://www.forbes.com/sites/jerylbrunner/2016/06/29/director-liesl-tommy-the-first-woman-of-color-nominated-for-a-tony-for-best-direction-of-a-play/#70e6ca0a69a7\" target=\"_blank\" rel=\"noopener\">Lisel Tommy\u003c/a> and playwright and Zimbabwean-American Danai Gurira (who’s also one of the stars of the TV series \u003cem>\u003ca href=\"http://www.amc.com/shows/the-walking-dead\" target=\"_blank\" rel=\"noopener\">The Walking Dead\u003c/a>, \u003c/em>and slated to appear in the upcoming Marvel \u003cem>Black Panther\u003c/em> movie). Gurira started writing because she didn’t think there were enough plays about Africa on American stages (you think?), and has won nothing but praise for her work. \u003cem>Eclipsed\u003c/em> is the second show at the renovated Curran Theatre (after \u003cem>Fun Home), \u003c/em>and more proof that owner Carole Shorenstein Hays is making good on her promise to bring important, serious shows to San Francisco. Each performance of \u003cem>Eclipsed\u003c/em> will be dedicated by name—in a post-show presentation—to abducted girls around the world. Details \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ycIVwe4MsS4\u003c/p>\n\u003cp>\u003cstrong>March 16–19\u003c/strong>: \u003ca href=\"http://ncco.org/\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra\u003c/a> is continuing its 25th anniversary with a season of farewell to music director and violinist \u003ca href=\"http://www.nadjasalernosonnenberg.com/\" target=\"_blank\" rel=\"noopener\">Nadja Salerno-Sonnenberg\u003c/a>, who will leave to teach full-time at \u003ca href=\"http://www.loyno.edu/\" target=\"_blank\" rel=\"noopener\">Loyola University \u003c/a>next fall. For this concert, Salerno-Sonnenberg has put together a program of pure pleasure, featuring an excerpt from Stravinsky’s ballet \u003ca href=\"https://en.wikipedia.org/wiki/Apollo_(ballet)\" target=\"_blank\" rel=\"noopener\">\u003cem>Apollon musagète\u003c/em>\u003c/a> and a suite of songs from \u003cem>An American in Paris\u003c/em>. That brings in the other stars of these shows, the choral group Chanticleer. You can’t go wrong. It runs March 16 in Berkeley at the First Presbyterian Church, March 17 in Palo Alto at the Oshman JCC, March 18 at Herbst Theater in San Francisco, and March 19 in San Rafael at the Osher Marin JCC. Details \u003ca href=\"http://ncco.org/concert-tickets/program-3-americans-paris/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12876209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876209 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg\" alt=\"Richard Diebenkorn’s Woman on a Porch\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-960x737.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Diebenkorn’s ‘Woman on a Porch.’ \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11–May 29\u003c/strong>: Two of the greatest names in modern art are together for the first time at the San Francisco Museum of Modern Art — French Fauvist and impressionist \u003ca href=\"http://www.henri-matisse.net/\" target=\"_blank\" rel=\"noopener\">Henri Matisse\u003c/a> (1869-1954) and Californian \u003ca href=\"http://diebenkorn.org/\" target=\"_blank\" rel=\"noopener\">Richard Diebenkorn \u003c/a>(1922–1993). That Diebenkorn was deeply influenced by Matisse was no secret, But in this collaboration between the \u003ca href=\"https://artbma.org/\" target=\"_blank\" rel=\"noopener\">Baltimore Museum of Art\u003c/a> (with its deep collection of Matisse) and \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">SFMOMA \u003c/a>(with its deep collection of Diebenkorn), visitors can see firsthand the way Diebenkorn often employed the same colors and design elements that Matisse used in his paintings. “Diebenkorn had an incredible visual memory,” SFMOMA \u003ca href=\"https://newamericanpaintings.com/jurors/janet-bishop\" target=\"_blank\" rel=\"noopener\">curator Janet Bishop\u003c/a> told me while we talked in front of Matisse’s \u003cem>Yellow Pottery from Provence\u003c/em>, “and he carried that image with him, so several years later, when he made one of his Berkeley paintings, you see that same palette emerge, that same banding of color. To see these paintings together for the first time is an incredible thrill.” And they’re gorgeous. Details for the Matisse/Diebenkorn show at SFMOMA \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KLoKWvUwyjM\u003c/p>\n\u003cp>\u003cstrong>March 10–12\u003c/strong>: \u003ca href=\"http://thecoathangers.com/\" target=\"_blank\" rel=\"noopener\">The Coathangers\u003c/a> are three women from Atlanta who only occasionally do ballads — mostly they play garage and surf-punk with no compromises. The band’s name (a reference to dangerous abortion methods so common before \u003cem>Roe v. Wade\u003c/em>) makes David uncomfortable, but maybe that’s the idea for a trio whose song titles include “Don’t Touch my Sh-t.” They touch down three times in the Bay Area this weekend — on March 10 at Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7065685&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), March 11 at the Starline Social Club in Oakland (\u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/3/11/the-coathangers-girltears\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), and March 12 at the \u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">Arlene Francis Center\u003c/a> in Santa Rosa (\u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\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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"excerpt": "Cy and David feature garage-punk from the Coathangers, a stellar meeting of Diebenkorn and Matisse, a play about women in war and more.",
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"title": "Cy and David's Picks: A World Music Diva, A Play about War in Africa, and a Show about Artistic Influence | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Both David and I are a bit groggy after a late evening at the opening of \u003ca href=\"http://www.fiascotheater.com/\" target=\"_blank\" rel=\"noopener\">Fiasco Theater\u003c/a>’s \u003ca href=\"http://www.sfchronicle.com/performance/article/Romp-Into-the-Woods-where-wishes-come-10989566.php\" target=\"_blank\" rel=\"noopener\">excellent stripped down production \u003c/a>of James Lapine and Stephen Sondheim’s musical \u003cem>Into the Woods\u003c/em>. Details for the run at SHN’s \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=intothewoods&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Golden Gate Theater through April 2 are here\u003c/a>. I’m also stoked to see Aaron Diehl and Cecile McLorin Salvant celebrate the music of Jelly Roll Morton and George Gershwin. They’re at \u003ca href=\"https://live.stanford.edu/calendar/march-2017/aaron-diehl-presents-jelly-and-george\" target=\"_blank\" rel=\"noopener\">Bing Concert Hall at Stanford\u003c/a>, \u003ca href=\"https://www.kuumbwajazz.org/calendar/2017-02/\" target=\"_blank\" rel=\"noopener\">Kuumbwa in Santa Cruz\u003c/a>, \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/jelly-and-george-featuring-aaron-diehl-and-cecile-mclorin-salvant\">the Mondavi Center in Davis\u003c/a> and \u003ca href=\"https://sfjazz.org/events/2016-17/0316/cecile-mclorin-salvant-aaron-diehl\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> — with\u003ca href=\"http://www.aarondiehl.com/booked-c1q5u\" target=\"_blank\" rel=\"noopener\"> details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qC8feW4gomo'\n title='//www.youtube.com/embed/qC8feW4gomo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 11\u003c/strong>: \u003ca href=\"http://www.meklitmusic.com/new-page-1/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a> is one of the Bay Area’s most adventurous singers and songwriters. She’s Ethiopian-born, and a TED Fellow who brews her music out of jazz, soul, R&B and world music. Hadero has been busy lately curating \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">The Nile Project \u003c/a>(a touring group of Nile Delta musicians) and \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>’s tribute to Lauryn Hill, so it’s nice to see her focusing again on her own music — especially in the intimate setting of Bing Concert Hall’s new Rehearsal Studio, with its cocktail lounge feel. Details for Hadero’s show Saturday\u003ca href=\"https://live.stanford.edu/calendar/march-2017/meklit\" target=\"_blank\" rel=\"noopener\"> are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876203 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg\" alt=\"Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco. \u003ccite>(Photo: Little Fang/Curran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 7–19\u003c/strong>: \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eclipsed\u003c/em> \u003c/a>is a play about the brutal violence of the Liberian Civil War and the bitter lives of women held as sex slaves by a rebel officer. The show is remarkable as the first on Broadway produced by an \u003ca href=\"http://www.okayafrica.com/culture-2/eclipsed-on-broadway-makes-history/\" target=\"_blank\" rel=\"noopener\">all-black, all-women creative team\u003c/a>, including former director (and former Berkeley Rep Associate Director) \u003ca href=\"https://www.forbes.com/sites/jerylbrunner/2016/06/29/director-liesl-tommy-the-first-woman-of-color-nominated-for-a-tony-for-best-direction-of-a-play/#70e6ca0a69a7\" target=\"_blank\" rel=\"noopener\">Lisel Tommy\u003c/a> and playwright and Zimbabwean-American Danai Gurira (who’s also one of the stars of the TV series \u003cem>\u003ca href=\"http://www.amc.com/shows/the-walking-dead\" target=\"_blank\" rel=\"noopener\">The Walking Dead\u003c/a>, \u003c/em>and slated to appear in the upcoming Marvel \u003cem>Black Panther\u003c/em> movie). Gurira started writing because she didn’t think there were enough plays about Africa on American stages (you think?), and has won nothing but praise for her work. \u003cem>Eclipsed\u003c/em> is the second show at the renovated Curran Theatre (after \u003cem>Fun Home), \u003c/em>and more proof that owner Carole Shorenstein Hays is making good on her promise to bring important, serious shows to San Francisco. Each performance of \u003cem>Eclipsed\u003c/em> will be dedicated by name—in a post-show presentation—to abducted girls around the world. Details \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" 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/ycIVwe4MsS4'\n title='//www.youtube.com/embed/ycIVwe4MsS4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 16–19\u003c/strong>: \u003ca href=\"http://ncco.org/\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra\u003c/a> is continuing its 25th anniversary with a season of farewell to music director and violinist \u003ca href=\"http://www.nadjasalernosonnenberg.com/\" target=\"_blank\" rel=\"noopener\">Nadja Salerno-Sonnenberg\u003c/a>, who will leave to teach full-time at \u003ca href=\"http://www.loyno.edu/\" target=\"_blank\" rel=\"noopener\">Loyola University \u003c/a>next fall. For this concert, Salerno-Sonnenberg has put together a program of pure pleasure, featuring an excerpt from Stravinsky’s ballet \u003ca href=\"https://en.wikipedia.org/wiki/Apollo_(ballet)\" target=\"_blank\" rel=\"noopener\">\u003cem>Apollon musagète\u003c/em>\u003c/a> and a suite of songs from \u003cem>An American in Paris\u003c/em>. That brings in the other stars of these shows, the choral group Chanticleer. You can’t go wrong. It runs March 16 in Berkeley at the First Presbyterian Church, March 17 in Palo Alto at the Oshman JCC, March 18 at Herbst Theater in San Francisco, and March 19 in San Rafael at the Osher Marin JCC. Details \u003ca href=\"http://ncco.org/concert-tickets/program-3-americans-paris/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12876209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876209 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg\" alt=\"Richard Diebenkorn’s Woman on a Porch\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-960x737.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Diebenkorn’s ‘Woman on a Porch.’ \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11–May 29\u003c/strong>: Two of the greatest names in modern art are together for the first time at the San Francisco Museum of Modern Art — French Fauvist and impressionist \u003ca href=\"http://www.henri-matisse.net/\" target=\"_blank\" rel=\"noopener\">Henri Matisse\u003c/a> (1869-1954) and Californian \u003ca href=\"http://diebenkorn.org/\" target=\"_blank\" rel=\"noopener\">Richard Diebenkorn \u003c/a>(1922–1993). That Diebenkorn was deeply influenced by Matisse was no secret, But in this collaboration between the \u003ca href=\"https://artbma.org/\" target=\"_blank\" rel=\"noopener\">Baltimore Museum of Art\u003c/a> (with its deep collection of Matisse) and \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">SFMOMA \u003c/a>(with its deep collection of Diebenkorn), visitors can see firsthand the way Diebenkorn often employed the same colors and design elements that Matisse used in his paintings. “Diebenkorn had an incredible visual memory,” SFMOMA \u003ca href=\"https://newamericanpaintings.com/jurors/janet-bishop\" target=\"_blank\" rel=\"noopener\">curator Janet Bishop\u003c/a> told me while we talked in front of Matisse’s \u003cem>Yellow Pottery from Provence\u003c/em>, “and he carried that image with him, so several years later, when he made one of his Berkeley paintings, you see that same palette emerge, that same banding of color. To see these paintings together for the first time is an incredible thrill.” And they’re gorgeous. Details for the Matisse/Diebenkorn show at SFMOMA \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">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/KLoKWvUwyjM'\n title='//www.youtube.com/embed/KLoKWvUwyjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 10–12\u003c/strong>: \u003ca href=\"http://thecoathangers.com/\" target=\"_blank\" rel=\"noopener\">The Coathangers\u003c/a> are three women from Atlanta who only occasionally do ballads — mostly they play garage and surf-punk with no compromises. The band’s name (a reference to dangerous abortion methods so common before \u003cem>Roe v. Wade\u003c/em>) makes David uncomfortable, but maybe that’s the idea for a trio whose song titles include “Don’t Touch my Sh-t.” They touch down three times in the Bay Area this weekend — on March 10 at Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7065685&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), March 11 at the Starline Social Club in Oakland (\u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/3/11/the-coathangers-girltears\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), and March 12 at the \u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">Arlene Francis Center\u003c/a> in Santa Rosa (\u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\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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"slug": "a-cautionary-play-about-the-supreme-court-case-legalizing-abortion",
"title": "A Cautionary Play About the Supreme Court Case Legalizing Abortion",
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"headTitle": "A Cautionary Play About the Supreme Court Case Legalizing Abortion | KQED",
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"content": "\u003cp>When \u003ca href=\"https://en.wikipedia.org/wiki/Lisa_Loomer\" target=\"_blank\" rel=\"noopener\">Lisa Loomer\u003c/a> began writing \u003cem>Roe\u003c/em>, her play currently at Berkeley Repertory Theater about the landmark Supreme Court decision \u003cem>Roe v. Wade\u003c/em>, she wasn’t alone in assuming that the \u003ca href=\"https://www.theatlantic.com/health/archive/2016/10/hillary-clintons-powerful-defense-of-abortion-rights/504866/\" target=\"_blank\" rel=\"noopener\">pro-choice Hillary Clinton\u003c/a> would be the next President of the United States.\u003c/p>\n\u003cp>Now, with the election of President Donald Trump — who has \u003ca href=\"https://www.nytimes.com/2017/01/31/us/politics/supreme-court-nominee-trump.html\" target=\"_blank\" rel=\"noopener\">pledged to appoint justices who will overturn Roe\u003c/a> — the play (a co-commission with the \u003ca href=\"https://www.nytimes.com/2016/08/28/theater/lisa-loomer-abortion-play-roe.html\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> and Washington D.C.’s \u003ca href=\"http://www.arenastage.org/shows-tickets/the-season/productions/roe/\" target=\"_blank\" rel=\"noopener\">Arena Stage\u003c/a>) has become a much more cautionary tale. We recently talked with Loomer in Berkeley about \u003cem>Roe\u003c/em>, and how its meaning has changed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12667847 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg\" alt=\"100Days_400x400z\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Does Trump’s election change what \u003cem>Roe\u003c/em> means for you, and for the audience?\u003c/strong>\u003c/p>\n\u003cp>The fascinating thing was reading the play the day after the election, just quietly reading it in my room; it played differently. Scenes that were celebratory now play as “Oh my God, we won that, but look where we are now.” Scenes that were cautionary in terms of the history of this issue, because this law has been whittled away tremendously over time, you hear totally differently because of what’s happening now. Our intention was to present the play during the election of the first woman president, and things worked out very, very differently. So what was funny then, may be less funny now. What was tragic then, may be more tragic now. There’s a lot of audience response in the play, arguments have broken out. It’s a hot time and a hot issue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Another thing that’s changed is the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/02/18/515972447/norma-mccorvey-roe-of-landmark-roe-v-wade-ruling-on-abortion-dies-at-69\" target=\"_blank\" rel=\"noopener\">death last month of Norma McCorvey\u003c/a>, better known as Jane Roe, the plaintiff in Roe v. Wade — who, later in her life, became an opponent of abortion. What does the play say about McCorvey, and do we perceive her character differently, knowing that she’s gone? \u003c/strong>\u003c/p>\n\u003cp>I think of Norma McCorvey as a very complicated woman, and an accidental figure in history. When I started to read about these two women, \u003ca href=\"http://www.weddingtoncenter.com/\" target=\"_blank\" rel=\"noopener\">Sarah Weddington\u003c/a> (the attorney who represented McCorvey in the case) and Norma, I thought, “This is the story of my play.” They begin as allies, plaintiff and lawyer. But after the case, their divergent journeys reflect the subsequent divide in American culture in an uncanny way (Weddington became a Texas legislator and remains a staunch defender of abortion). This is the story I wanted to tell; how we can’t even talk to each other, because we approach issues like this from such different places. Why are we such a divided culture? Why do we resort to yelling, and screaming, and sound bites, and slogans?\u003c/p>\n\u003cfigure id=\"attachment_12861209\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12861209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lisa-Loomer.jpg\" alt=\"Lisa Loomer, author of the play ‘Roe’ at Berkeley Repertory Theater\" width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer.jpg 373w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer-240x360.jpg 240w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Loomer, author of the play ‘Roe’ at Berkeley Repertory Theater. \u003ccite>(Photo: Joe Romano/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Perhaps a play can’t answer that question. But why \u003cem>do\u003c/em> you think we can’t we talk about abortion, and how does the play help bridge the divide? \u003c/strong>\u003c/p>\n\u003cp>I think you’re right, a play can’t answer a question. But I think that a play can illuminate the feelings on both sides, and that’s what our news fails to do, and what theater can do so beautifully, because it reveals the human side of the story. We see characters dealing with these very difficult questions.\u003c/p>\n\u003cp>In one scene, set in the Supreme Court, one of the Justices asks, “Is this a religious question, is it a medical question, is it a philosophical question? What is it? How do we define life?” And one of the other characters says “Good question.” The audience gets to ask that question for themselves.\u003c/p>\n\u003cp>Listen, nobody has come to this play and said, “I walked in pro-choice, and I walked out pro-life,” or vice-versa. And that’s not my intention. What I have heard, though, in letters from audience members, they’ve said, “Darn it. You made me understand and even have some compassion for the other side.”\u003c/p>\n\u003cp>Someone said, “I went with a friend who thinks differently than I do. We’ve never talked about it. We talked about it all the way home. So it’s given people a way to talk. Some language, some permission, some inspiration to talk. And that’s what theater can do.\u003c/p>\n\u003cfigure id=\"attachment_12861211\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12861211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roe-3.jpg\" alt=\"A scene from 'Roe' at Berkeley Rep: (L to R) Sara Bruner (Norma McCorvey), Amy Newman (Ronda Mackey), and Gina Daniels (Ensemble).\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-520x346.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Roe’ at Bekeley Rep: (L to R) Sara Bruner (Norma McCorvey), Amy Newman (Ronda Mackey), and Gina Daniels (Ensemble). \u003ccite>(Photo: Jenny Graham/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So what impact can this play have on audiences or national politics?\u003c/strong>\u003c/p>\n\u003cp>I have to admit I am interested in opening an audience member’s mind — by opening his or her heart. I think of a term that my friend Father Greg Boyle uses, “a reverence for the complexity of human beings.” And that said, I think the play is also a call to action for people who are pro-choice. And that’s good. Roe is at risk. And if this play is also a call to action for people who are pro-life, that’s great too.\u003c/p>\n\u003cp>The awful thing about being a human being is that we have to make terrible choices. And for me, looking at what choice means, it made me very wary of people who would seek to make my choices seemingly easier than they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"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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"excerpt": "A play at Berkeley Rep about the real-life attorney and plaintiff of Roe v. Wade asks why we're still so divided as a culture on the issue of abortion. ",
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"title": "A Cautionary Play About the Supreme Court Case Legalizing Abortion | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://en.wikipedia.org/wiki/Lisa_Loomer\" target=\"_blank\" rel=\"noopener\">Lisa Loomer\u003c/a> began writing \u003cem>Roe\u003c/em>, her play currently at Berkeley Repertory Theater about the landmark Supreme Court decision \u003cem>Roe v. Wade\u003c/em>, she wasn’t alone in assuming that the \u003ca href=\"https://www.theatlantic.com/health/archive/2016/10/hillary-clintons-powerful-defense-of-abortion-rights/504866/\" target=\"_blank\" rel=\"noopener\">pro-choice Hillary Clinton\u003c/a> would be the next President of the United States.\u003c/p>\n\u003cp>Now, with the election of President Donald Trump — who has \u003ca href=\"https://www.nytimes.com/2017/01/31/us/politics/supreme-court-nominee-trump.html\" target=\"_blank\" rel=\"noopener\">pledged to appoint justices who will overturn Roe\u003c/a> — the play (a co-commission with the \u003ca href=\"https://www.nytimes.com/2016/08/28/theater/lisa-loomer-abortion-play-roe.html\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> and Washington D.C.’s \u003ca href=\"http://www.arenastage.org/shows-tickets/the-season/productions/roe/\" target=\"_blank\" rel=\"noopener\">Arena Stage\u003c/a>) has become a much more cautionary tale. We recently talked with Loomer in Berkeley about \u003cem>Roe\u003c/em>, and how its meaning has changed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12667847 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg\" alt=\"100Days_400x400z\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_400x400z-1-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Does Trump’s election change what \u003cem>Roe\u003c/em> means for you, and for the audience?\u003c/strong>\u003c/p>\n\u003cp>The fascinating thing was reading the play the day after the election, just quietly reading it in my room; it played differently. Scenes that were celebratory now play as “Oh my God, we won that, but look where we are now.” Scenes that were cautionary in terms of the history of this issue, because this law has been whittled away tremendously over time, you hear totally differently because of what’s happening now. Our intention was to present the play during the election of the first woman president, and things worked out very, very differently. So what was funny then, may be less funny now. What was tragic then, may be more tragic now. There’s a lot of audience response in the play, arguments have broken out. It’s a hot time and a hot issue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Another thing that’s changed is the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/02/18/515972447/norma-mccorvey-roe-of-landmark-roe-v-wade-ruling-on-abortion-dies-at-69\" target=\"_blank\" rel=\"noopener\">death last month of Norma McCorvey\u003c/a>, better known as Jane Roe, the plaintiff in Roe v. Wade — who, later in her life, became an opponent of abortion. What does the play say about McCorvey, and do we perceive her character differently, knowing that she’s gone? \u003c/strong>\u003c/p>\n\u003cp>I think of Norma McCorvey as a very complicated woman, and an accidental figure in history. When I started to read about these two women, \u003ca href=\"http://www.weddingtoncenter.com/\" target=\"_blank\" rel=\"noopener\">Sarah Weddington\u003c/a> (the attorney who represented McCorvey in the case) and Norma, I thought, “This is the story of my play.” They begin as allies, plaintiff and lawyer. But after the case, their divergent journeys reflect the subsequent divide in American culture in an uncanny way (Weddington became a Texas legislator and remains a staunch defender of abortion). This is the story I wanted to tell; how we can’t even talk to each other, because we approach issues like this from such different places. Why are we such a divided culture? Why do we resort to yelling, and screaming, and sound bites, and slogans?\u003c/p>\n\u003cfigure id=\"attachment_12861209\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12861209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lisa-Loomer.jpg\" alt=\"Lisa Loomer, author of the play ‘Roe’ at Berkeley Repertory Theater\" width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer.jpg 373w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lisa-Loomer-240x360.jpg 240w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Loomer, author of the play ‘Roe’ at Berkeley Repertory Theater. \u003ccite>(Photo: Joe Romano/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Perhaps a play can’t answer that question. But why \u003cem>do\u003c/em> you think we can’t we talk about abortion, and how does the play help bridge the divide? \u003c/strong>\u003c/p>\n\u003cp>I think you’re right, a play can’t answer a question. But I think that a play can illuminate the feelings on both sides, and that’s what our news fails to do, and what theater can do so beautifully, because it reveals the human side of the story. We see characters dealing with these very difficult questions.\u003c/p>\n\u003cp>In one scene, set in the Supreme Court, one of the Justices asks, “Is this a religious question, is it a medical question, is it a philosophical question? What is it? How do we define life?” And one of the other characters says “Good question.” The audience gets to ask that question for themselves.\u003c/p>\n\u003cp>Listen, nobody has come to this play and said, “I walked in pro-choice, and I walked out pro-life,” or vice-versa. And that’s not my intention. What I have heard, though, in letters from audience members, they’ve said, “Darn it. You made me understand and even have some compassion for the other side.”\u003c/p>\n\u003cp>Someone said, “I went with a friend who thinks differently than I do. We’ve never talked about it. We talked about it all the way home. So it’s given people a way to talk. Some language, some permission, some inspiration to talk. And that’s what theater can do.\u003c/p>\n\u003cfigure id=\"attachment_12861211\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12861211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roe-3.jpg\" alt=\"A scene from 'Roe' at Berkeley Rep: (L to R) Sara Bruner (Norma McCorvey), Amy Newman (Ronda Mackey), and Gina Daniels (Ensemble).\" width=\"560\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roe-3-520x346.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Roe’ at Bekeley Rep: (L to R) Sara Bruner (Norma McCorvey), Amy Newman (Ronda Mackey), and Gina Daniels (Ensemble). \u003ccite>(Photo: Jenny Graham/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So what impact can this play have on audiences or national politics?\u003c/strong>\u003c/p>\n\u003cp>I have to admit I am interested in opening an audience member’s mind — by opening his or her heart. I think of a term that my friend Father Greg Boyle uses, “a reverence for the complexity of human beings.” And that said, I think the play is also a call to action for people who are pro-choice. And that’s good. Roe is at risk. And if this play is also a call to action for people who are pro-life, that’s great too.\u003c/p>\n\u003cp>The awful thing about being a human being is that we have to make terrible choices. And for me, looking at what choice means, it made me very wary of people who would seek to make my choices seemingly easier than they are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"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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"title": "Golden Thread Productions Puts a Human Face on Muslim Culture",
"headTitle": "Golden Thread Productions Puts a Human Face on Muslim Culture | KQED",
"content": "\u003cp>How does an arts organization devoted to presenting work about Muslims and the Middle East respond to the Trump Administration’s immigration ban affecting seven Muslim-majority countries?\u003c/p>\n\u003cp>KQED spoke with Torange Yeghiazarian, the artistic director of \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>, to learn how the 20-year-old Bay Area theater company that specializes in plays by and about Middle Eastern people is approaching this issue.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Golden Thread Productions Celebrates 20 Years\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/WYv2KaMqtPs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Is this a challenging time to present Middle Eastern culture to a U.S. audience?\u003c/strong>\u003c/p>\n\u003cp>The higher visibility is a double-edged sword for us. People may demand more programming about the Middle East. But they often want that programming to confirm their already-held beliefs. Countering the dominant narrative has been and continues to be our mission, providing an alternative to the victim-or-villain box the Middle East is often forced into. I’m thinking about how our work can reach those outside metropolitan areas. How can we touch the hearts and minds of middle America? I would love to find a way to take our work there. I think the conversations that our work provokes are very much needed in the middle of the U.S.\u003c/p>\n\u003cp>[ad fullwidth]\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\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>\u003cstrong>What’s your take on President Trump’s efforts to ban Syrian refugees and immigrants from some Muslim-majority countries?\u003c/strong>\u003c/p>\n\u003cp>I think it’s shameful. The U.S. is still the richest country in the world, but how many refugees have been resettled here? We admitted the highest number of refugees in 2016 and that was only 80,000. In the same year, Germany admitted over one million. Half of the six million Syrians displaced live in Lebanon, Jordan and Turkey. So, when we talk about the “burden” of refugees on the U.S., it would be helpful to look around at the rest of the world for some perspective.\u003c/p>\n\u003cp>\u003cstrong>The Trump administration claims it’s trying to protect the American people from the threat of terrorism. How do you respond to that?\u003c/strong>\u003c/p>\n\u003cp>I think it’s B.S. What was the nationality of proven perpetrators of terror in recent years? They were European, American, and if you go back to 9/11, Saudi. I don’t see those places listed in the ban. If it’s meant to be a ban on Muslims, I don’t see the countries with the highest Muslim populations listed. Those would be Indonesia, Pakistan and India. This says to me that the list is arbitrary.\u003c/p>\n\u003cfigure id=\"attachment_12813830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12813830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-800x450.jpg\" alt=\"Playwright Saïd Sayrafiezadeh\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386.jpg 935w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Saïd Sayrafiezadeh. \u003ccite>(Photo: Basso Cannarsa/Golden Thread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’ll be producing two very timely plays this season: \u003cem>Autobiography of a Terrorist\u003c/em>, a comedy by the Iranian American playwright \u003ca href=\"http://www.sayrafiezadeh.com/SaidSayrafiezadeh.html\" target=\"_blank\" rel=\"noopener\">Saïd Sayrafiezadeh\u003c/a>, and \u003cem>Oh My Sweet Land\u003c/em> by Amir Nizar Zuabi, about Syrian refugees. What can we learn from these two plays about what’s happening in America today?\u003c/strong>\u003c/p>\n\u003cp>Both plays put a human face on what is often limited to a news bite. \u003cem>Autobiography of a Terrorist\u003c/em> is a comedy about growing up Iranian with an unpronounceable last name in the U.S. during the \u003ca href=\"https://en.wikipedia.org/wiki/Iran_hostage_crisis\" target=\"_blank\" rel=\"noopener\">Iranian hostage crisis\u003c/a>. The title refers to people’s tendency to associate Middle Eastern men with terrorism. But also, on a deeper level, it exposes a certain level of personal terror experienced by the main character. It’s a hilarious play that pokes fun equally at liberals and conservatives, as well as well-meaning theater artists!\u003c/p>\n\u003cp>\u003cem>Oh My Sweet Land\u003c/em> is based on interviews with Syrian refugees in Lebanon and Jordan. It’s not documentary or verbatim theatre. It’s the fictional story of a woman’s friendship with a Syrian man and her search for him. The woman tells us the story as she makes \u003cem>kibbeh\u003c/em>, a Syrian delicacy like meat balls. Between the personal narrative and the cooking, I’m hoping that the audience will have a very visceral response to the play. We plan to present it in kitchens to small groups. The performance will be followed by food-sharing and conversation. Meaningful conversation is what I feel we as a country are really hungry for.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Aa6JWHVsldE\u003c/p>\n\u003cp>\u003cstrong>You’re hosting a public conversation on Wednesday, March 8, with four artists who have Middle Eastern connections. What do you hope these women can tell us about the challenges facing Syrian and other Middle Eastern immigrants coming to the U.S.?\u003c/strong>\u003c/p>\n\u003cp>Women are the core of our community. They are the movers and shakers. The exceedingly fabulous women participating in this year’s \u003cem>What do the Women Say?\u003c/em> event — Egyptian-American actor Nora el Samahy, Tunisian-American film editor Sara Maamouri, Iranian-American vocalist Dina Zarif, and Syrian-Palestinian-American chef Reem Assil — are accomplished storytellers who put a human face on political hype. I think the audience members, regardless of their own cultural backgrounds, will find much in common with the women on the stage.\u003c/p>\n\u003cfigure id=\"attachment_12813832\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12813832 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802.jpg\" alt=\"Baker Reem Assil\" width=\"594\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802-520x292.jpg 520w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Baker Reem Assil. \u003ccite>(Photo: Courtesy of Golden Thread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can your theater company change people’s minds and open their hearts regarding Middle Eastern immigrants and refugees?\u003c/strong>\u003c/p>\n\u003cp>Yes. I believe we can or I would not do what I do. Stories have the power to lift our imaginations and bring us closer to each other. I’m convinced that once you have deeply experienced the life story of someone from the Middle East, you will be reluctant to point a gun at them, or consider them an enemy.\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=\"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>Golden Thread Productions’ ‘What do the Women Say?’ event takes place Wednesday, March 8 (Women’s Day), at Brava Theater Center in San Francisco. More information \u003ca href=\"http://www.goldenthread.org/programs/women-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Artistic director Torange Yeghiazarian on her company's 20 years of presenting theater about Muslims and the Middle East — and how they're responding to Trump's immigration bans.\r\n",
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"description": "Artistic director Torange Yeghiazarian on her company's 20 years of presenting theater about Muslims and the Middle East — and how they're responding to Trump's immigration bans.\r\n",
"title": "Golden Thread Productions Puts a Human Face on Muslim Culture | KQED",
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"headline": "Golden Thread Productions Puts a Human Face on Muslim Culture",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How does an arts organization devoted to presenting work about Muslims and the Middle East respond to the Trump Administration’s immigration ban affecting seven Muslim-majority countries?\u003c/p>\n\u003cp>KQED spoke with Torange Yeghiazarian, the artistic director of \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>, to learn how the 20-year-old Bay Area theater company that specializes in plays by and about Middle Eastern people is approaching this issue.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Golden Thread Productions Celebrates 20 Years\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/WYv2KaMqtPs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Is this a challenging time to present Middle Eastern culture to a U.S. audience?\u003c/strong>\u003c/p>\n\u003cp>The higher visibility is a double-edged sword for us. People may demand more programming about the Middle East. But they often want that programming to confirm their already-held beliefs. Countering the dominant narrative has been and continues to be our mission, providing an alternative to the victim-or-villain box the Middle East is often forced into. I’m thinking about how our work can reach those outside metropolitan areas. How can we touch the hearts and minds of middle America? I would love to find a way to take our work there. I think the conversations that our work provokes are very much needed in the middle of the U.S.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>\u003cstrong>What’s your take on President Trump’s efforts to ban Syrian refugees and immigrants from some Muslim-majority countries?\u003c/strong>\u003c/p>\n\u003cp>I think it’s shameful. The U.S. is still the richest country in the world, but how many refugees have been resettled here? We admitted the highest number of refugees in 2016 and that was only 80,000. In the same year, Germany admitted over one million. Half of the six million Syrians displaced live in Lebanon, Jordan and Turkey. So, when we talk about the “burden” of refugees on the U.S., it would be helpful to look around at the rest of the world for some perspective.\u003c/p>\n\u003cp>\u003cstrong>The Trump administration claims it’s trying to protect the American people from the threat of terrorism. How do you respond to that?\u003c/strong>\u003c/p>\n\u003cp>I think it’s B.S. What was the nationality of proven perpetrators of terror in recent years? They were European, American, and if you go back to 9/11, Saudi. I don’t see those places listed in the ban. If it’s meant to be a ban on Muslims, I don’t see the countries with the highest Muslim populations listed. Those would be Indonesia, Pakistan and India. This says to me that the list is arbitrary.\u003c/p>\n\u003cfigure id=\"attachment_12813830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12813830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-800x450.jpg\" alt=\"Playwright Saïd Sayrafiezadeh\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Headshot_SaidSayrafiezadeh-e1488074289386.jpg 935w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Saïd Sayrafiezadeh. \u003ccite>(Photo: Basso Cannarsa/Golden Thread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’ll be producing two very timely plays this season: \u003cem>Autobiography of a Terrorist\u003c/em>, a comedy by the Iranian American playwright \u003ca href=\"http://www.sayrafiezadeh.com/SaidSayrafiezadeh.html\" target=\"_blank\" rel=\"noopener\">Saïd Sayrafiezadeh\u003c/a>, and \u003cem>Oh My Sweet Land\u003c/em> by Amir Nizar Zuabi, about Syrian refugees. What can we learn from these two plays about what’s happening in America today?\u003c/strong>\u003c/p>\n\u003cp>Both plays put a human face on what is often limited to a news bite. \u003cem>Autobiography of a Terrorist\u003c/em> is a comedy about growing up Iranian with an unpronounceable last name in the U.S. during the \u003ca href=\"https://en.wikipedia.org/wiki/Iran_hostage_crisis\" target=\"_blank\" rel=\"noopener\">Iranian hostage crisis\u003c/a>. The title refers to people’s tendency to associate Middle Eastern men with terrorism. But also, on a deeper level, it exposes a certain level of personal terror experienced by the main character. It’s a hilarious play that pokes fun equally at liberals and conservatives, as well as well-meaning theater artists!\u003c/p>\n\u003cp>\u003cem>Oh My Sweet Land\u003c/em> is based on interviews with Syrian refugees in Lebanon and Jordan. It’s not documentary or verbatim theatre. It’s the fictional story of a woman’s friendship with a Syrian man and her search for him. The woman tells us the story as she makes \u003cem>kibbeh\u003c/em>, a Syrian delicacy like meat balls. Between the personal narrative and the cooking, I’m hoping that the audience will have a very visceral response to the play. We plan to present it in kitchens to small groups. The performance will be followed by food-sharing and conversation. Meaningful conversation is what I feel we as a country are really hungry for.\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/Aa6JWHVsldE'\n title='//www.youtube.com/embed/Aa6JWHVsldE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You’re hosting a public conversation on Wednesday, March 8, with four artists who have Middle Eastern connections. What do you hope these women can tell us about the challenges facing Syrian and other Middle Eastern immigrants coming to the U.S.?\u003c/strong>\u003c/p>\n\u003cp>Women are the core of our community. They are the movers and shakers. The exceedingly fabulous women participating in this year’s \u003cem>What do the Women Say?\u003c/em> event — Egyptian-American actor Nora el Samahy, Tunisian-American film editor Sara Maamouri, Iranian-American vocalist Dina Zarif, and Syrian-Palestinian-American chef Reem Assil — are accomplished storytellers who put a human face on political hype. I think the audience members, regardless of their own cultural backgrounds, will find much in common with the women on the stage.\u003c/p>\n\u003cfigure id=\"attachment_12813832\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12813832 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802.jpg\" alt=\"Baker Reem Assil\" width=\"594\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Assil-Reem-official-e1488074326802-520x292.jpg 520w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Baker Reem Assil. \u003ccite>(Photo: Courtesy of Golden Thread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can your theater company change people’s minds and open their hearts regarding Middle Eastern immigrants and refugees?\u003c/strong>\u003c/p>\n\u003cp>Yes. I believe we can or I would not do what I do. Stories have the power to lift our imaginations and bring us closer to each other. I’m convinced that once you have deeply experienced the life story of someone from the Middle East, you will be reluctant to point a gun at them, or consider them an enemy.\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=\"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>Golden Thread Productions’ ‘What do the Women Say?’ event takes place Wednesday, March 8 (Women’s Day), at Brava Theater Center in San Francisco. More information \u003ca href=\"http://www.goldenthread.org/programs/women-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-a-play-about-roe-v-wade-reimagining-laura-nyro-and-loving-a-big-thief",
"title": "Cy and David's Picks: A Play About Roe v. Wade, Reimagining Laura Nyro, and Loving a Big Thief",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our quick shoutouts on the Do List this week are both free, so they’re \u003cstrong>CHEAP THRILLS\u003c/strong>, and we love that. David crowed about a show that pairs movie posters with the abstract paintings that might have inspired them at the \u003ca href=\"http://anderson.stanford.edu/exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">Anderson Collection at Stanford\u003c/a>; KQED’s own Sarah Hotchkiss wrote about it \u003ca href=\"https://ww2.kqed.org/arts/2017/03/01/paintings-get-the-hollywood-treatment-in-student-curated-show-at-anderson/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> I’m excited about the San Francisco Conservatory of Music’s annual \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">Hot Air Music Festival\u003c/a>, featuring students and alumni ensembles (The Ignition Duo, Friction Quartet, and The Living Earth Show among them) performing music you just won’t hear anywhere else. Details for the all-day show, Sunday, March 5, at the SFCM are \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S1b1MDl6Kc8\u003c/p>\n\u003cp>\u003cstrong>March 4\u003c/strong>: Laura Nyro wrote and performed some of the biggest hits of the late ’60s and early 70’s, including “Save the Country” and “Stoned Soul Picnic,” during a too, too short career — she died in 1997 of ovarian cancer. Now pianist Billy Childs has recorded a celebration of Nyro’s music with an all-star band (Shawn Colvin, Rickie Lee Jones, Becca Stevens, Renée Fleming, Yo-Yo Ma, Lisa Fischer, Alison Krauss, Susan Tedeschi, Wayne Shorter, Esperanza Spalding, and Dianne Reeves — wow), and he’s bringing the tribute show to San Francisco. Nyro, born Laura Nigro in the Bronx, combined gospel, pop, rock and jazz, with lyrics that were political, poetic, and sometimes whimsical. And for the local connection: her first major professional gig was at the age of 18 at San Francisco’s Hungry I coffeehouse. Details for Childs’ SF Performances concert Saturday night at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/BillyChilds.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YdaNlZhmHoM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s another tribute to a late singer-songwriter; this time it’s blueswoman Alberta Hunter (1895-1984). San Francisco’s \u003ca href=\"http://www.jewellegomez.com/\" target=\"_blank\" rel=\"noopener\">Jewelle Gomez \u003c/a>(\u003cem>Waiting for Giovanni) \u003c/em>has written \u003cem>Leaving the Blues\u003c/em>, a play about Hunter, her music, and her life as a lesbian artist, with a big focus on Hunter’s relationship with her partner Lottie Tyler. Hunter quit music for years to work as a nurse, then came out of retirement at the age of 82 and became more popular than ever. Gomez wrote the play with actress Desiree Rogers in mind for the lead, who often works with the LGBT-focused \u003ca href=\"http://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener\">New Conservatory Theatre Center\u003c/a>. That’s where this show gets its world premiere. \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Leaving-the-Blues\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9CibfyfjKLk\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> We’re featuring still another singer-songwriter now. Do you detect a theme? \u003ca href=\"http://gabrielkahane.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Gabriel Kahane \u003c/a>writes and plays tunes that are a blend of art song, pop, and cabaret, and he’s set Craigslist ads to music in a song cycle he’s calling \u003cem>Craigslistlieder\u003c/em>, including ditties like “Half a Box of Condoms.” Kahane comes by his love of this classic genre naturally: His dad is pianist and conductor \u003ca href=\"http://www.cmartists.com/artists/jeffrey-kahane.htm\" target=\"_blank\" rel=\"noopener\">Jeffrey Kahane\u003c/a> (formerly music director for the Santa Rosa Symphony), and son Gabriel is writing songs that somehow both celebrate and mock the old lieder tradition. At this week’s concert, Kahane also sings Schumann’s song cycle, “\u003ca href=\"https://www.youtube.com/watch?v=cor-5Cps3uU\" target=\"_blank\" rel=\"noopener\">Dichterliebe,\u003c/a>” which is just gorgeous, and selections from recent recordings. Details for Kahane’s Sunday concert at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/GabrielKahane.html\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E9Yfildcwpg\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s a play about \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe v. Wade \u003c/a>that is not a courtroom drama. It’s a modern history play about the very complicated life of Sarah Weddington, the lawyer who successfully fought to make abortion legal; and the equally complicated life of her client Norma McCorvey, who died a few weeks ago, and who famously campaigned against abortion later in her life. Playwright Lisa Loomer says when she wrote the piece for its premiere at the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, she and her collaborators all assumed Hillary Clinton would now be president, and she says the show is all the more timely now that we’ve elected a president who’s pledged to appoint justices who will overturn Roe. In a recent interview, Loomer talked about how her own thinking about abortion changed as she wrote the play. “The awful thing about being a human being,” she said, “is that we have to make terrible choices. And the play made me very wary of people who would seek to make my choices seemingly easier than they are, or to tell me, you don’t need to choose, just do what I tell you to do.” There will be pre- and post-show discussions at many of the performances with people working on the issues of women’s health and reproductive rights. Details for Roe at the Berkeley Repertory Theater \u003ca href=\"https://www.berkeleyrep.org/season/1617/10665.asp\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D0E5vMkDfOI\u003c/p>\n\u003cp>\u003cstrong>March 7\u003c/strong>: \u003ca href=\"http://www.bigthief.net/\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a>’s new album is called \u003ca href=\"https://saddle-creek.com/products/masterpiece\" target=\"_blank\" rel=\"noopener\">\u003cem>Masterpiece\u003c/em>\u003c/a>, a title which takes a lot of guts when it’s also your first album as a band. But it’s darn good, with all the songs by vocalist and guitarist Adrianne Lenker (who spent time at the Berklee School of Music). She and Buck Meek are the core of the band, with Max Oleartchik on bass, and James Krivchenia on drums. The title track is pretty rocking, but other songs stray down indie folk and country roads in surprising ways. Catch them in a small club while you still can. Details for Big Thief’s gig at the Rickshaw Stop on Tuesday \u003ca href=\"http://www.rickshawstop.com/event/1400912-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\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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"excerpt": "Cy and David's picks this week include 'Roe' at Berkeley Rep, the band Big Thief, and parlor songs about Craigslist.",
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"title": "Cy and David's Picks: A Play About Roe v. Wade, Reimagining Laura Nyro, and Loving a Big Thief | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our quick shoutouts on the Do List this week are both free, so they’re \u003cstrong>CHEAP THRILLS\u003c/strong>, and we love that. David crowed about a show that pairs movie posters with the abstract paintings that might have inspired them at the \u003ca href=\"http://anderson.stanford.edu/exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">Anderson Collection at Stanford\u003c/a>; KQED’s own Sarah Hotchkiss wrote about it \u003ca href=\"https://ww2.kqed.org/arts/2017/03/01/paintings-get-the-hollywood-treatment-in-student-curated-show-at-anderson/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> I’m excited about the San Francisco Conservatory of Music’s annual \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">Hot Air Music Festival\u003c/a>, featuring students and alumni ensembles (The Ignition Duo, Friction Quartet, and The Living Earth Show among them) performing music you just won’t hear anywhere else. Details for the all-day show, Sunday, March 5, at the SFCM are \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" 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/S1b1MDl6Kc8'\n title='//www.youtube.com/embed/S1b1MDl6Kc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 4\u003c/strong>: Laura Nyro wrote and performed some of the biggest hits of the late ’60s and early 70’s, including “Save the Country” and “Stoned Soul Picnic,” during a too, too short career — she died in 1997 of ovarian cancer. Now pianist Billy Childs has recorded a celebration of Nyro’s music with an all-star band (Shawn Colvin, Rickie Lee Jones, Becca Stevens, Renée Fleming, Yo-Yo Ma, Lisa Fischer, Alison Krauss, Susan Tedeschi, Wayne Shorter, Esperanza Spalding, and Dianne Reeves — wow), and he’s bringing the tribute show to San Francisco. Nyro, born Laura Nigro in the Bronx, combined gospel, pop, rock and jazz, with lyrics that were political, poetic, and sometimes whimsical. And for the local connection: her first major professional gig was at the age of 18 at San Francisco’s Hungry I coffeehouse. Details for Childs’ SF Performances concert Saturday night at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/BillyChilds.html\" target=\"_blank\" rel=\"noopener\">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/YdaNlZhmHoM'\n title='//www.youtube.com/embed/YdaNlZhmHoM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s another tribute to a late singer-songwriter; this time it’s blueswoman Alberta Hunter (1895-1984). San Francisco’s \u003ca href=\"http://www.jewellegomez.com/\" target=\"_blank\" rel=\"noopener\">Jewelle Gomez \u003c/a>(\u003cem>Waiting for Giovanni) \u003c/em>has written \u003cem>Leaving the Blues\u003c/em>, a play about Hunter, her music, and her life as a lesbian artist, with a big focus on Hunter’s relationship with her partner Lottie Tyler. Hunter quit music for years to work as a nurse, then came out of retirement at the age of 82 and became more popular than ever. Gomez wrote the play with actress Desiree Rogers in mind for the lead, who often works with the LGBT-focused \u003ca href=\"http://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener\">New Conservatory Theatre Center\u003c/a>. That’s where this show gets its world premiere. \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Leaving-the-Blues\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9CibfyfjKLk'\n title='//www.youtube.com/embed/9CibfyfjKLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 5:\u003c/strong> We’re featuring still another singer-songwriter now. Do you detect a theme? \u003ca href=\"http://gabrielkahane.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Gabriel Kahane \u003c/a>writes and plays tunes that are a blend of art song, pop, and cabaret, and he’s set Craigslist ads to music in a song cycle he’s calling \u003cem>Craigslistlieder\u003c/em>, including ditties like “Half a Box of Condoms.” Kahane comes by his love of this classic genre naturally: His dad is pianist and conductor \u003ca href=\"http://www.cmartists.com/artists/jeffrey-kahane.htm\" target=\"_blank\" rel=\"noopener\">Jeffrey Kahane\u003c/a> (formerly music director for the Santa Rosa Symphony), and son Gabriel is writing songs that somehow both celebrate and mock the old lieder tradition. At this week’s concert, Kahane also sings Schumann’s song cycle, “\u003ca href=\"https://www.youtube.com/watch?v=cor-5Cps3uU\" target=\"_blank\" rel=\"noopener\">Dichterliebe,\u003c/a>” which is just gorgeous, and selections from recent recordings. Details for Kahane’s Sunday concert at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/GabrielKahane.html\" target=\"_blank\" rel=\"noopener\">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/E9Yfildcwpg'\n title='//www.youtube.com/embed/E9Yfildcwpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s a play about \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe v. Wade \u003c/a>that is not a courtroom drama. It’s a modern history play about the very complicated life of Sarah Weddington, the lawyer who successfully fought to make abortion legal; and the equally complicated life of her client Norma McCorvey, who died a few weeks ago, and who famously campaigned against abortion later in her life. Playwright Lisa Loomer says when she wrote the piece for its premiere at the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, she and her collaborators all assumed Hillary Clinton would now be president, and she says the show is all the more timely now that we’ve elected a president who’s pledged to appoint justices who will overturn Roe. In a recent interview, Loomer talked about how her own thinking about abortion changed as she wrote the play. “The awful thing about being a human being,” she said, “is that we have to make terrible choices. And the play made me very wary of people who would seek to make my choices seemingly easier than they are, or to tell me, you don’t need to choose, just do what I tell you to do.” There will be pre- and post-show discussions at many of the performances with people working on the issues of women’s health and reproductive rights. Details for Roe at the Berkeley Repertory Theater \u003ca href=\"https://www.berkeleyrep.org/season/1617/10665.asp\" target=\"_blank\" rel=\"noopener\">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/D0E5vMkDfOI'\n title='//www.youtube.com/embed/D0E5vMkDfOI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 7\u003c/strong>: \u003ca href=\"http://www.bigthief.net/\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a>’s new album is called \u003ca href=\"https://saddle-creek.com/products/masterpiece\" target=\"_blank\" rel=\"noopener\">\u003cem>Masterpiece\u003c/em>\u003c/a>, a title which takes a lot of guts when it’s also your first album as a band. But it’s darn good, with all the songs by vocalist and guitarist Adrianne Lenker (who spent time at the Berklee School of Music). She and Buck Meek are the core of the band, with Max Oleartchik on bass, and James Krivchenia on drums. The title track is pretty rocking, but other songs stray down indie folk and country roads in surprising ways. Catch them in a small club while you still can. Details for Big Thief’s gig at the Rickshaw Stop on Tuesday \u003ca href=\"http://www.rickshawstop.com/event/1400912-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\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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"title": "Bay Area Circus Stars Shine in Cirque du Soleil's 'Luzia'",
"headTitle": "Bay Area Circus Stars Shine in Cirque du Soleil’s ‘Luzia’ | KQED",
"content": "\u003cp>Four Bay Area natives can currently be found under the big top performing as part of \u003ca href=\"https://www.cirquedusoleil.com\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil\u003c/a>’s latest touring extravaganza, \u003cem>Luzia\u003c/em>.\u003c/p>\n\u003cp>Siblings Marta and Devin Henderson, as well as Maya Kesselman and Dominic Cruz, all trained at the \u003ca href=\"http://circuscenter.org/\" target=\"_blank\" rel=\"noopener\">Circus Center\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“Not only did these students train with us, but they trained with each other at the same time here,” says Circus Center executive director Barry Kendall. “And they’ve made working together almost like a family.”\u003c/p>\n\u003cp>In the video above, watch the artists perform daring feats like hoop diving and pole climbing for their roles in \u003cem>Luzia\u003c/em>.\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=\"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 fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Luzia’ continues its run in San Jose through Sunday, Mar. 19. Tickets and information \u003ca href=\"https://www.cirquedusoleil.com/usa/san-jose/luzia/buy-tickets?cid=ps:luz_us-ca-06_2016:luzia-sanfransanjo-2016:N10035.124997.GOOGLESEARCH!:71741869:tks:adv&adsrc=N10035.124997.GOOGLESEARCH!&adcnt=71741869&bu=tsd&utm_medium=paid-search&utm_source=N10035.124997.GOOGLESEARCH!&utm_content=71741869%7C%7Cticket-sales%7Cadviso%7C%7C%7C%7Ctsd&utm_campaign=luzia-sanfransanjo-2016%7Ctouringshowbt%7Cluzia%7CSANFRANCISCO-CA-US%7C2016%7C%7C\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Watch four Bay Area natives — Marta and Devin Henderson, Maya Kesselman and Dominc Cruz — perform daring feats and discuss their roles in Cirque du Soleil's current production.\r\n\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Four Bay Area natives can currently be found under the big top performing as part of \u003ca href=\"https://www.cirquedusoleil.com\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil\u003c/a>’s latest touring extravaganza, \u003cem>Luzia\u003c/em>.\u003c/p>\n\u003cp>Siblings Marta and Devin Henderson, as well as Maya Kesselman and Dominic Cruz, all trained at the \u003ca href=\"http://circuscenter.org/\" target=\"_blank\" rel=\"noopener\">Circus Center\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“Not only did these students train with us, but they trained with each other at the same time here,” says Circus Center executive director Barry Kendall. “And they’ve made working together almost like a family.”\u003c/p>\n\u003cp>In the video above, watch the artists perform daring feats like hoop diving and pole climbing for their roles in \u003cem>Luzia\u003c/em>.\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=\"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>\u003c/p>\n\u003cp>\u003cem>‘Luzia’ continues its run in San Jose through Sunday, Mar. 19. Tickets and information \u003ca href=\"https://www.cirquedusoleil.com/usa/san-jose/luzia/buy-tickets?cid=ps:luz_us-ca-06_2016:luzia-sanfransanjo-2016:N10035.124997.GOOGLESEARCH!:71741869:tks:adv&adsrc=N10035.124997.GOOGLESEARCH!&adcnt=71741869&bu=tsd&utm_medium=paid-search&utm_source=N10035.124997.GOOGLESEARCH!&utm_content=71741869%7C%7Cticket-sales%7Cadviso%7C%7C%7C%7Ctsd&utm_campaign=luzia-sanfransanjo-2016%7Ctouringshowbt%7Cluzia%7CSANFRANCISCO-CA-US%7C2016%7C%7C\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the flood waters subside in San Jose, the situation looks muddy for the \u003ca href=\"http://northsidetheatre.com/\" target=\"_blank\" rel=\"noopener\">Northside Theatre Company\u003c/a>. The theater, in its 38th season, is located close to Coyote Creek, and nobody is allowed in without an official escort.\u003c/p>\n\u003cp>Managing Artistic Director Meredith King has been in to assess the situation and says the city will assess the flood damage and handle the cleanup. “I’m told it should take several weeks,” she says. For now, she’s busy reading the fine print on the theatre’s insurance policy. “We have an indemnity policy against injury. More than that, I don’t know.”\u003c/p>\n\u003cp>The theatre immediately canceled future performances of David Mamet’s \u003cem>Oleanna\u003c/em>, which had been scheduled to run through March 5. But a neighborhood savior turned up in the form of the \u003ca href=\"https://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">San Jose Stage Company\u003c/a>, which offered its venue for two nights: March 3 and March 4.\u003c/p>\n\u003cp>“We would not be fulfilling our mission if we did not open our doors to them,” said spokesman Clinton Williams. “Community and collaboration is at the heart of our organization.”\u003c/p>\n\u003cfigure id=\"attachment_12813622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12813622\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-800x451.jpg\" alt=\"The Northside Theatre Company, less than a week before the building was flooded.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Northside Theatre Company, less than a week before the building was flooded. \u003ccite>(Photo: Courtesy of the Northside Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans are encouraged to visit Northside’s \u003ca href=\"https://www.facebook.com/Northside-Theatre-Company-157250677629135\" target=\"_blank\" rel=\"noopener\">Facebook \u003c/a>page for updates. Numerous commenters expressed sympathy for the theater, including Anne Gelhaus of San Jose: “Please let me know if you need clean-up volunteers,” she wrote. “I hope there’s not too much mucking out to be done.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Northside is accepting donations towards its recovery efforts at this \u003ca href=\"https://www.paypal.com/donate/?token=rqi1WMoggoWX940fj5bBawuDk9LpNlFAlulAsvdhe5mDnqrO_B_zQRRbujPiOD8CssSCeW\" target=\"_blank\" rel=\"noopener\">PayPal\u003c/a> site.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Northside Theatre Company in San Jose has been shut down until further notice due to flooding.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the flood waters subside in San Jose, the situation looks muddy for the \u003ca href=\"http://northsidetheatre.com/\" target=\"_blank\" rel=\"noopener\">Northside Theatre Company\u003c/a>. The theater, in its 38th season, is located close to Coyote Creek, and nobody is allowed in without an official escort.\u003c/p>\n\u003cp>Managing Artistic Director Meredith King has been in to assess the situation and says the city will assess the flood damage and handle the cleanup. “I’m told it should take several weeks,” she says. For now, she’s busy reading the fine print on the theatre’s insurance policy. “We have an indemnity policy against injury. More than that, I don’t know.”\u003c/p>\n\u003cp>The theatre immediately canceled future performances of David Mamet’s \u003cem>Oleanna\u003c/em>, which had been scheduled to run through March 5. But a neighborhood savior turned up in the form of the \u003ca href=\"https://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">San Jose Stage Company\u003c/a>, which offered its venue for two nights: March 3 and March 4.\u003c/p>\n\u003cp>“We would not be fulfilling our mission if we did not open our doors to them,” said spokesman Clinton Williams. “Community and collaboration is at the heart of our organization.”\u003c/p>\n\u003cfigure id=\"attachment_12813622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12813622\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-800x451.jpg\" alt=\"The Northside Theatre Company, less than a week before the building was flooded.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Northside Theatre Company, less than a week before the building was flooded. \u003ccite>(Photo: Courtesy of the Northside Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans are encouraged to visit Northside’s \u003ca href=\"https://www.facebook.com/Northside-Theatre-Company-157250677629135\" target=\"_blank\" rel=\"noopener\">Facebook \u003c/a>page for updates. Numerous commenters expressed sympathy for the theater, including Anne Gelhaus of San Jose: “Please let me know if you need clean-up volunteers,” she wrote. “I hope there’s not too much mucking out to be done.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Northside is accepting donations towards its recovery efforts at this \u003ca href=\"https://www.paypal.com/donate/?token=rqi1WMoggoWX940fj5bBawuDk9LpNlFAlulAsvdhe5mDnqrO_B_zQRRbujPiOD8CssSCeW\" target=\"_blank\" rel=\"noopener\">PayPal\u003c/a> site.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "american-theater-history-is-written-on-the-walls-of-the-curran",
"title": "American Theater History Is Written on the Walls of the Curran",
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"content": "\u003cp>For decades, the \u003ca href=\"https://sfcurran.com/about/\" target=\"_blank\" rel=\"noopener\">Curran Theater\u003c/a> in San Francisco has been a place where people have watched shows from Broadway and on their way to Broadway. In its 95 years, the venue has weathered earthquakes and appeared in the classic movie \u003cem>All About Eve\u003c/em>.\u003c/p>\n\u003cp>For the last few years, the Curran’s been undergoing a major renovation. Now that it’s done, once a month, the public can take a tour of the place, stand on its stage, sit in the dressing rooms and walk through its underground steam tunnels. \u003c/p>\n\u003cp>For the theater major and former actor in me, this was a must. \u003c/p>\n\u003cfigure id=\"attachment_12813415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Curran-3-800x600.jpg\" alt=\"The wall backstage at the Curran\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The wall backstage at the Curran \u003ccite>(Jaron Caldwell )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The history of American theater is handwritten — literally — on the Curran’s backstage walls. The cast and crews of \u003cem>The Music Man\u003c/em>, \u003cem>Jersey Boys\u003c/em>, \u003cem>Fences\u003c/em>, \u003cem>Wicked\u003c/em> and countless other powerhouse productions have hit their marks there, and left them there too. \u003c/p>\n\u003cp>The 45-minute tour is guided on the Detour mobile app. It features the voices of famous performers like Carol Channing, who grew up in San Francisco and performed \u003cem>Hello Dolly\u003c/em> at the Curran. In one clip, Channing talks of saving her allowance for weeks as a young girl to buy a ticket to shows at the Curran. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I want to be buried between the Curran Theater and the Geary Theater,” Channing exclaims.\u003c/p>\n\u003cp>Stage managers and stage hands also weigh in and as do members of the renovation crew to talk about cleaning decades of nicotine and dust off the magnificent chandelier that hangs over the house. Kristen Chenoweth remembers the world premiere of \u003cem>Wicked\u003c/em> at the Curran before taking it to Broadway. \u003c/p>\n\u003cfigure id=\"attachment_12813416\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Curran-4-800x600.jpg\" alt=\"Dressing room being rennovated\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dressing room being rennovated \u003ccite>(Jaron Caldwell )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were in a progressive town, with very smart audiences who wanted to love us and – I think – were a part of the process of making \u003cem>Wicked\u003c/em> what it became,” Chenoweth says in the Detour’s recording. \u003c/p>\n\u003cp>The tour is narrated by Carole Shorenstein Hays, the Broadway producer who with her husband bought the Curran and financed its renovation. She invited me to sit with her in her favorite seats in the balcony with a grand view of that chandelier.\u003c/p>\n\u003cp>“I will admit that I was always focused on the stage,” Hays told me when I kept asking which part of the renovation was most important to her. But she acknowledged that patrons thanked her most for fixing up and adding more restrooms. \u003c/p>\n\u003cp>“The bathrooms, the bathrooms, the bathrooms,” Hays said, remembering a certain exasperation. “We got the best reviews on stage, but the worst reviews off stage.”\u003c/p>\n\u003cp>The bathrooms are fantastic now, but what I really wanted to talk to Hays about was \u003cem>Fences\u003c/em>. She produced the original Broadway production of August Wilson’s play, which premiered at the Curran 30 years ago before going on to win the Tony Award for Best Play and the Pulitzer Prize for Drama.\u003c/p>\n\u003cfigure id=\"attachment_12813608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-800x600.jpg\" alt=\"Carole Shorenstein Hays\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carole Shorenstein Hays \u003ccite>(Jaron Caldwell )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The year was 1987, and I was an aspiring actor, studying Theater at Yale. I took a bus to New York to see \u003cem>Fences\u003c/em>, and was blown away by the powerful performances of James Earl Jones, Mary Alice, Courtney Vance, and Frankie Faison. I had no idea who Carole Shorenstein Hays was. \u003c/p>\n\u003cp>Thirty years later, audiences are finally discovering \u003cem>Fences\u003c/em> as a movie, starring Denzel Washington and Viola Davis. It’s up for four Academy Awards. But I had to ask Carole Shorenstein Hays what it was like bringing the play to Broadway. \u003c/p>\n\u003cp>“It was like childbirth,” Hays said. “No one believed in \u003cem>Fences\u003c/em>. They said ‘it won’t work because of this and because of that, and P.S.’ the pundits said ‘well, black people won’t go to Broadway.’ So I went to the churches [to promote the play], and I said, ‘People will come.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The next play at the Curran is \u003cem>Eclipsed\u003c/em>, set to open on March 9, and Hays calls it the next \u003cem>Fences\u003c/em>.\u003c/p>\n\n",
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"excerpt": "Productions such as 'The Music Man' 'Fences,' and 'Wicked' all hit their marks at theater that's almost 100 years old. ",
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"title": "American Theater History Is Written on the Walls of the Curran | KQED",
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"headline": "American Theater History Is Written on the Walls of the Curran",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, the \u003ca href=\"https://sfcurran.com/about/\" target=\"_blank\" rel=\"noopener\">Curran Theater\u003c/a> in San Francisco has been a place where people have watched shows from Broadway and on their way to Broadway. In its 95 years, the venue has weathered earthquakes and appeared in the classic movie \u003cem>All About Eve\u003c/em>.\u003c/p>\n\u003cp>For the last few years, the Curran’s been undergoing a major renovation. Now that it’s done, once a month, the public can take a tour of the place, stand on its stage, sit in the dressing rooms and walk through its underground steam tunnels. \u003c/p>\n\u003cp>For the theater major and former actor in me, this was a must. \u003c/p>\n\u003cfigure id=\"attachment_12813415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Curran-3-800x600.jpg\" alt=\"The wall backstage at the Curran\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The wall backstage at the Curran \u003ccite>(Jaron Caldwell )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The history of American theater is handwritten — literally — on the Curran’s backstage walls. The cast and crews of \u003cem>The Music Man\u003c/em>, \u003cem>Jersey Boys\u003c/em>, \u003cem>Fences\u003c/em>, \u003cem>Wicked\u003c/em> and countless other powerhouse productions have hit their marks there, and left them there too. \u003c/p>\n\u003cp>The 45-minute tour is guided on the Detour mobile app. It features the voices of famous performers like Carol Channing, who grew up in San Francisco and performed \u003cem>Hello Dolly\u003c/em> at the Curran. In one clip, Channing talks of saving her allowance for weeks as a young girl to buy a ticket to shows at the Curran. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I want to be buried between the Curran Theater and the Geary Theater,” Channing exclaims.\u003c/p>\n\u003cp>Stage managers and stage hands also weigh in and as do members of the renovation crew to talk about cleaning decades of nicotine and dust off the magnificent chandelier that hangs over the house. Kristen Chenoweth remembers the world premiere of \u003cem>Wicked\u003c/em> at the Curran before taking it to Broadway. \u003c/p>\n\u003cfigure id=\"attachment_12813416\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Curran-4-800x600.jpg\" alt=\"Dressing room being rennovated\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Curran-4.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dressing room being rennovated \u003ccite>(Jaron Caldwell )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were in a progressive town, with very smart audiences who wanted to love us and – I think – were a part of the process of making \u003cem>Wicked\u003c/em> what it became,” Chenoweth says in the Detour’s recording. \u003c/p>\n\u003cp>The tour is narrated by Carole Shorenstein Hays, the Broadway producer who with her husband bought the Curran and financed its renovation. She invited me to sit with her in her favorite seats in the balcony with a grand view of that chandelier.\u003c/p>\n\u003cp>“I will admit that I was always focused on the stage,” Hays told me when I kept asking which part of the renovation was most important to her. But she acknowledged that patrons thanked her most for fixing up and adding more restrooms. \u003c/p>\n\u003cp>“The bathrooms, the bathrooms, the bathrooms,” Hays said, remembering a certain exasperation. “We got the best reviews on stage, but the worst reviews off stage.”\u003c/p>\n\u003cp>The bathrooms are fantastic now, but what I really wanted to talk to Hays about was \u003cem>Fences\u003c/em>. She produced the original Broadway production of August Wilson’s play, which premiered at the Curran 30 years ago before going on to win the Tony Award for Best Play and the Pulitzer Prize for Drama.\u003c/p>\n\u003cfigure id=\"attachment_12813608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-800x600.jpg\" alt=\"Carole Shorenstein Hays\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Shorenstein-Hays-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carole Shorenstein Hays \u003ccite>(Jaron Caldwell )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The year was 1987, and I was an aspiring actor, studying Theater at Yale. I took a bus to New York to see \u003cem>Fences\u003c/em>, and was blown away by the powerful performances of James Earl Jones, Mary Alice, Courtney Vance, and Frankie Faison. I had no idea who Carole Shorenstein Hays was. \u003c/p>\n\u003cp>Thirty years later, audiences are finally discovering \u003cem>Fences\u003c/em> as a movie, starring Denzel Washington and Viola Davis. It’s up for four Academy Awards. But I had to ask Carole Shorenstein Hays what it was like bringing the play to Broadway. \u003c/p>\n\u003cp>“It was like childbirth,” Hays said. “No one believed in \u003cem>Fences\u003c/em>. They said ‘it won’t work because of this and because of that, and P.S.’ the pundits said ‘well, black people won’t go to Broadway.’ So I went to the churches [to promote the play], and I said, ‘People will come.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The next play at the Curran is \u003cem>Eclipsed\u003c/em>, set to open on March 9, and Hays calls it the next \u003cem>Fences\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ubuntu's Novel-Yet-Lacking 'Death of a Salesman' Looks to a New Age",
"headTitle": "Ubuntu’s Novel-Yet-Lacking ‘Death of a Salesman’ Looks to a New Age | KQED",
"content": "\u003cp>If many now feel America is entering a nightmare age, \u003ca href=\"http://www.ubuntutheaterproject.com/death-of-a-salesman/\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a>’s production of Arthur Miller’s standard-bearer of thwarted American hope, \u003cem>Death of a Salesman\u003c/em>, offers strange, distorted messages from the past. There’s plenty of anger in Miller’s 1949 play, but there’s no President Trump to direct it at and give it political shape.\u003c/p>\n\u003cp>Willy Loman, the deluded salesman of the title, is furious, and he’s furious at the system. And yet he saves his most savage attacks for his wife Linda, his sons Biff and Happy, and worst of all, himself. For Loman, the political is personal, and that’s all it is. Right from its premiere, critics have argued over the play’s curious blending of metaphysics and social protest: Is it a tragedy? Is an American tragedy even possible? And if so, has Miller achieved that exalted state?\u003c/p>\n\u003cp>The Ubuntu production, under Michael Socrates Moran’s direction, finds its own strange path to these questions, as well as the question of what to make of Miller’s play in 2017. That it begins as a slight dream on a fall day is the first surprise. You enter the theater and the actors are already there, the stage covered with what looks like freshly blown leaves. And there’s Loman, sleeping on a mound of suitcases as the cast wanders about the stage in raincoats and fedoras.\u003c/p>\n\u003cfigure id=\"attachment_12805997\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12805997 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581.jpg\" alt=\"Willy (Julien López-Morillas) is haunted by (left to right) Charley (Norman Gee), Stanley (William Oliver III), Mysterious Woman (Margherita Ventura) and Bernard (J Jha) in the Ubuntu Theater Project's production of 'Death of a Salesman' by Arthur Miller.\" width=\"750\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Willy (Julien López-Morillas) is haunted by (left to right) Charley (Norman Gee), Stanley (William Oliver III), Mysterious Woman (Margherita Ventura) and Bernard (J Jha) in the Ubuntu Theater Project’s production of ‘Death of a Salesman’ by Arthur Miller. \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an arresting and beautiful opening image, perfectly calibrated to suit Ubuntu’s church-loft theater — a \u003cem>Salesman\u003c/em> filtered through the eyes of Rene Magritte and Samuel Beckett. Long-time Bay Area actor Julian López-Morillas’ performance is superb, both in playing Loman, and, more importantly, in playing the character in a way that feels as if he’s seeped himself into the scenery. It’s a nightmare, but a gentle, surrealist one tinged with care.\u003c/p>\n\u003cp>And that’s the key tension in Ubuntu’s production: the weird relationship between kindness and horror. It’s not that Loman is without people who love him, or that he lives in a world without compassion. It’s that legitimate care and love make him feel worthless. Linda’s defense of his so-called importance — “attention must be paid” — leads Loman to further pain and delusions. His neighbor Charley’s offer of help, in the form of a job with enough money to survive, comes as a stinging rebuke. Sixty-eight years later, Loman’s despair probably would have led him to embrace the raucous anger of Trump or the white-hot socialism of Bernie Sanders, but here he’s just lost.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the production gives full expression to these subtle humiliations, you feel Miller’s play and vision in a new way — that kindness can be just as corrosive as hate. Yet, getting this message across is a high-wire act that Moran and his cast have trouble maintaining.\u003c/p>\n\u003cfigure id=\"attachment_12805797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12805797 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-800x450.jpg\" alt=\"Linda (Dawn Troupe) tries to get her husband Willy (Julian López-Morillas) to makes sense in the Ubuntu Theater Project's 'Death of a Salesman.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Linda (Dawn Troupe) tries to get her husband Willy (Julian López-Morillas) to makes sense in the Ubuntu Theater Project’s ‘Death of a Salesman.’ \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production is packed with fitful moments of brilliance that come from the force and focus of the acting in relation to the production and design. Dawn Troupe’s Linda floats through the leaves on stage without a crackle, sometimes seeming to disappear right in front of us. You have a sense that Norman Gee’s Charley just walked across the street and into the play. And Margherita Ventura’s floozy feels as if she came to the theater drunk, sat in the front row, and fell onto the stage. They, along with López-Morillas, cut deep into the play and temper Moran’s stylized direction with a haunting reality.\u003c/p>\n\u003cp>But not all of the performances succeed. Nathaniel Andalis and Mohammad Shehatat as Biff and Happy are good actors, but they tend to play to their own characters rather than the whole production. They aren’t rooted in the landscape the way López-Morillas is. In this production, false notes are hard to hide. They jar you away from what’s most compelling about the dreamscape. Ubuntu is a daring company, and this is in many ways a daring production with many terrific moments. But it feels unfinished.\u003c/p>\n\u003cp>For all the debates about what Miller achieved with \u003cem>Salesman\u003c/em>, there was always the feeling that he had cut through to a complete experience and spoken directly to the ills of the country. We’ve moved to a different kind of reality now, and so Ubuntu’s \u003cem>Salesman\u003c/em> feels appropriate. It’s a trip to the past to see the genesis of the future, and yet we want and need more from this production. We need for Moran and his actors to finish the circle, to take us from the metaphysical disaster of a lone \u003cem>Salesman\u003c/em> to the political one we’re experiencing now. They’ve taken a few strong steps to do just that, but the full journey is still unrealized.\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=\"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>‘Death of a Salesman’ runs through Sunday, Mar. 5, at the Brooklyn Preserve in Oakland. For tickets and information, \u003ca href=\"http://www.ubuntutheaterproject.com/death-of-a-salesman/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "If many now feel America is entering a nightmare age, Ubuntu Theater Project’s production of Arthur Miller’s classic standard-bearer of thwarted American hope offers strange, distorted messages from the past. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If many now feel America is entering a nightmare age, \u003ca href=\"http://www.ubuntutheaterproject.com/death-of-a-salesman/\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a>’s production of Arthur Miller’s standard-bearer of thwarted American hope, \u003cem>Death of a Salesman\u003c/em>, offers strange, distorted messages from the past. There’s plenty of anger in Miller’s 1949 play, but there’s no President Trump to direct it at and give it political shape.\u003c/p>\n\u003cp>Willy Loman, the deluded salesman of the title, is furious, and he’s furious at the system. And yet he saves his most savage attacks for his wife Linda, his sons Biff and Happy, and worst of all, himself. For Loman, the political is personal, and that’s all it is. Right from its premiere, critics have argued over the play’s curious blending of metaphysics and social protest: Is it a tragedy? Is an American tragedy even possible? And if so, has Miller achieved that exalted state?\u003c/p>\n\u003cp>The Ubuntu production, under Michael Socrates Moran’s direction, finds its own strange path to these questions, as well as the question of what to make of Miller’s play in 2017. That it begins as a slight dream on a fall day is the first surprise. You enter the theater and the actors are already there, the stage covered with what looks like freshly blown leaves. And there’s Loman, sleeping on a mound of suitcases as the cast wanders about the stage in raincoats and fedoras.\u003c/p>\n\u003cfigure id=\"attachment_12805997\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12805997 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581.jpg\" alt=\"Willy (Julien López-Morillas) is haunted by (left to right) Charley (Norman Gee), Stanley (William Oliver III), Mysterious Woman (Margherita Ventura) and Bernard (J Jha) in the Ubuntu Theater Project's production of 'Death of a Salesman' by Arthur Miller.\" width=\"750\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman10-e1487841216581-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Willy (Julien López-Morillas) is haunted by (left to right) Charley (Norman Gee), Stanley (William Oliver III), Mysterious Woman (Margherita Ventura) and Bernard (J Jha) in the Ubuntu Theater Project’s production of ‘Death of a Salesman’ by Arthur Miller. \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an arresting and beautiful opening image, perfectly calibrated to suit Ubuntu’s church-loft theater — a \u003cem>Salesman\u003c/em> filtered through the eyes of Rene Magritte and Samuel Beckett. Long-time Bay Area actor Julian López-Morillas’ performance is superb, both in playing Loman, and, more importantly, in playing the character in a way that feels as if he’s seeped himself into the scenery. It’s a nightmare, but a gentle, surrealist one tinged with care.\u003c/p>\n\u003cp>And that’s the key tension in Ubuntu’s production: the weird relationship between kindness and horror. It’s not that Loman is without people who love him, or that he lives in a world without compassion. It’s that legitimate care and love make him feel worthless. Linda’s defense of his so-called importance — “attention must be paid” — leads Loman to further pain and delusions. His neighbor Charley’s offer of help, in the form of a job with enough money to survive, comes as a stinging rebuke. Sixty-eight years later, Loman’s despair probably would have led him to embrace the raucous anger of Trump or the white-hot socialism of Bernie Sanders, but here he’s just lost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the production gives full expression to these subtle humiliations, you feel Miller’s play and vision in a new way — that kindness can be just as corrosive as hate. Yet, getting this message across is a high-wire act that Moran and his cast have trouble maintaining.\u003c/p>\n\u003cfigure id=\"attachment_12805797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12805797 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-800x450.jpg\" alt=\"Linda (Dawn Troupe) tries to get her husband Willy (Julian López-Morillas) to makes sense in the Ubuntu Theater Project's 'Death of a Salesman.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Salesman3-e1487837947799.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Linda (Dawn Troupe) tries to get her husband Willy (Julian López-Morillas) to makes sense in the Ubuntu Theater Project’s ‘Death of a Salesman.’ \u003ccite>(Photo courtesy of the company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production is packed with fitful moments of brilliance that come from the force and focus of the acting in relation to the production and design. Dawn Troupe’s Linda floats through the leaves on stage without a crackle, sometimes seeming to disappear right in front of us. You have a sense that Norman Gee’s Charley just walked across the street and into the play. And Margherita Ventura’s floozy feels as if she came to the theater drunk, sat in the front row, and fell onto the stage. They, along with López-Morillas, cut deep into the play and temper Moran’s stylized direction with a haunting reality.\u003c/p>\n\u003cp>But not all of the performances succeed. Nathaniel Andalis and Mohammad Shehatat as Biff and Happy are good actors, but they tend to play to their own characters rather than the whole production. They aren’t rooted in the landscape the way López-Morillas is. In this production, false notes are hard to hide. They jar you away from what’s most compelling about the dreamscape. Ubuntu is a daring company, and this is in many ways a daring production with many terrific moments. But it feels unfinished.\u003c/p>\n\u003cp>For all the debates about what Miller achieved with \u003cem>Salesman\u003c/em>, there was always the feeling that he had cut through to a complete experience and spoken directly to the ills of the country. We’ve moved to a different kind of reality now, and so Ubuntu’s \u003cem>Salesman\u003c/em> feels appropriate. It’s a trip to the past to see the genesis of the future, and yet we want and need more from this production. We need for Moran and his actors to finish the circle, to take us from the metaphysical disaster of a lone \u003cem>Salesman\u003c/em> to the political one we’re experiencing now. They’ve taken a few strong steps to do just that, but the full journey is still unrealized.\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=\"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>‘Death of a Salesman’ runs through Sunday, Mar. 5, at the Brooklyn Preserve in Oakland. For tickets and information, \u003ca href=\"http://www.ubuntutheaterproject.com/death-of-a-salesman/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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