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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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"headline": "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": "\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",
"description": "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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"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",
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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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"headTitle": "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": "\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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"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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"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",
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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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"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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"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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"title": "Watch Marc Bamuthi Joseph's '100 Days Drumpf' Monologue",
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"content": "\u003cp>Marc Bamuthi Joseph was a commanding presence at this year’s \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Black Choreographer’s Festival\u003c/a> in San Francisco.\u003c/p>\n\u003cp>In addition to performing \u003cem>pe-LO-tah\u003c/em>, the dance theater piece about global politics and soccer he premiered last fall, the spoken word artist and \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> curator shared his new monologue about life under President Trump at the three-weekend-long event.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Black Choreographer's Festival - Marc Bamuthi Joseph "100 Days Drumpf"\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/92aQdf9IFys?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“The first one hundred days after your heart has been snapped,” Joseph says at the start of his five-minute-long piece. “No. The first hundred days after you spend the first three days crying, after your heart’s been snapped: You’re out of tears, but you feel their echo in your body. You’re vulnerable and out of touch with order, and just hella angry. This president gives me a ‘just got my heart snapped’ feeling.”\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>\u003cem>Marc Bamuthi Joseph’s essay for KQED, ‘My Art is Not a Bridge–It’s a Battery,’ can be read \u003ca href=\"https://ww2.kqed.org/arts/2017/01/27/my-art-is-not-a-bridge-its-a-battery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read John Wilkins’ review of ‘pe-LO-tah’ and other Black Choreographers Festival highlights \u003ca href=\"https://ww2.kqed.org/arts/2017/02/23/black-choreographers-festival-points-to-black-bodies-in-crisis/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marc Bamuthi Joseph was a commanding presence at this year’s \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Black Choreographer’s Festival\u003c/a> in San Francisco.\u003c/p>\n\u003cp>In addition to performing \u003cem>pe-LO-tah\u003c/em>, the dance theater piece about global politics and soccer he premiered last fall, the spoken word artist and \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> curator shared his new monologue about life under President Trump at the three-weekend-long event.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Black Choreographer's Festival - Marc Bamuthi Joseph "100 Days Drumpf"\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/92aQdf9IFys?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“The first one hundred days after your heart has been snapped,” Joseph says at the start of his five-minute-long piece. “No. The first hundred days after you spend the first three days crying, after your heart’s been snapped: You’re out of tears, but you feel their echo in your body. You’re vulnerable and out of touch with order, and just hella angry. This president gives me a ‘just got my heart snapped’ feeling.”\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>\u003cem>Marc Bamuthi Joseph’s essay for KQED, ‘My Art is Not a Bridge–It’s a Battery,’ can be read \u003ca href=\"https://ww2.kqed.org/arts/2017/01/27/my-art-is-not-a-bridge-its-a-battery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read John Wilkins’ review of ‘pe-LO-tah’ and other Black Choreographers Festival highlights \u003ca href=\"https://ww2.kqed.org/arts/2017/02/23/black-choreographers-festival-points-to-black-bodies-in-crisis/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "do-list-musical-notes-from-native-california-trance-blues-and-bell-x1s-high-flying-pop",
"title": "Cy and David's Picks: Musical Notes from Native California, Trance Blues, and Bell X1's High-Flying Pop",
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"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/2017/02/TDL20170224.mp3\u003c/p>\n\u003cp>The list is long this week for amazing stuff we couldn’t fit in the show. Yiddish songbird \u003ca href=\"http://www.heatherklein.net/\" target=\"_blank\" rel=\"noopener\">Heather Klein\u003c/a> premieres \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale/\" target=\"_blank\" rel=\"noopener\">her new one–woman musical, \u003cem>Shanghai Angel\u003c/em>\u003c/a>, about her grandmother’s emigration from Austria to Shanghai to America through Angel Island. It’s Feb. 26\u003ca href=\"https://www.thecjm.org/programs/55\" target=\"_blank\" rel=\"noopener\"> at the Contemporary Jewish Museum.\u003c/a> \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">Naatak \u003c/a>opens the very timely play \u003cem>Airport Insecurity, \u003c/em>a Trump-esque tale of an Indian techie stuck at an airport in immigration limbo. It’s \u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">at the Cubberley Community Center in Palo Alto\u003c/a>, running Feb. 24-March 4. And for the ultimate in cool and classical, \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates \u003c/a>DJs and directs one of his\u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.mercurysoul.org/\" target=\"_blank\" rel=\"noopener\"> Mercury Soul \u003c/a>shows on Feb. 24, called \u003cem>Baroque & Beats\u003c/em> at the \u003ca href=\"https://www.dnalounge.com/calendar/2017/02-24.html\" target=\"_blank\" rel=\"noopener\">DNA Lounge\u003c/a>. Now for the show.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0TJPYb1KxXc\u003c/p>\n\u003cp>\u003cstrong>Feb. 24–25\u003c/strong>: \u003ca href=\"https://www.otistaylor.com/index.html\" target=\"_blank\" rel=\"noopener\">Otis Taylor\u003c/a>’s new album, \u003cem>Fantasizing about Being Black,\u003c/em> is about the history of the African American experience, from the slave ships to the Mississippi Delta, and the blues music that was born of those influences. Taylor has always recognized that the blues are a form of protest music, and there’s plenty of comment here on the racism that endures in America today. He’s got a great band, too, with Anne Harris on violin. Details for his two shows at Biscuits and Blues are \u003ca href=\"http://biscuitsandblues.com/otistaylorband\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg\" alt=\"Monet's 'Pointe de la Heve.' part of the exhibition at the Legion of Honor in San Francisco\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1020x601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve.jpg 1523w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monet’s ‘Pointe de la Heve.’ part of the exhibition at the Legion of Honor in San Francisco. \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 28–May 29:\u003c/strong> The French painter \u003ca href=\"http://www.sfgate.com/local/article/Monet-comes-to-San-Francisco-s-Legion-of-Honor-10921548.php\" target=\"_blank\" rel=\"noopener\">Claude Monet \u003c/a>is most famous for his huge water lily paintings, done late in life. But we get a new perspective on the French artist in a show coming to the Legion of Honor called \u003cem>Monet: the Early Years,\u003c/em> with 60 paintings demonstrating a period in the mid-19th century when the artist was part of a generation re-inventing painting. “I didn’t become an impressionist,” the catalog quotes Monet. “As long as I can remember I always have been one.” He was always, as well, a master of color and a lover of landscapes. What a treat to see this first major U.S. exhibition devoted to Monet’s early works. Details for the show are \u003ca href=\"https://legionofhonor.famsf.org/monet-early-yearsand\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/002-800x600.jpg\" alt=\"Kanyon Sayers Rood sings with the Oakland Symphony in its program 'Notes from Native California'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers Rood sings with the Oakland Symphony in its program ‘Notes from Native California.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24\u003c/strong>: The Oakland Symphony is presenting its annual concert celebrating world music traditions, and this year Conductor Michael Morgan sticks close to home with a program called \u003cem>Notes from Native California\u003c/em>. Among the pieces is \u003cem>Big Sur: The Night Sun\u003c/em>, by John Wineglass, featuring the voice of Ohlone/Chumash singer \u003ca href=\"http://nativenewsonline.net/currents/ohlonechumash-artist-kanyon-sayers-roods-exhibits-gathering-tribes/\" target=\"_blank\" rel=\"noopener\">Kanyon Sayers-Roods\u003c/a>, whose amazing soprano voice I first heard a few weeks ago at the \u003ca href=\"https://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House \u003c/a>in Oakland. Sayers-Roods told me she makes up her own songs, and quotes her mom on how they’re not traditional, but still authentic. “My mother goes, ‘That is spirit. Those are our ancestors speaking through you. That is your culture being awakened. That is truth,'” Sayers-Roods said. “Because my mother and my grandmother have always shared a quote, ‘When song, ceremony and dance stop, so does the earth,’ and I too believe that.” She’s just one of the highlights for a concert that also features Shostakovitch’s Ninth Symphony. \u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/115441535\u003c/p>\n\u003cp>\u003cstrong>Feb. 24–March 3\u003c/strong>: There’s a category called CNN Opera, describing a musical about a modern political event or movement. Think \u003cem>\u003ca href=\"https://www.earbox.com/the-death-of-klinghoffer/\" target=\"_blank\" rel=\"noopener\">The Death of Klinghoffer\u003c/a>\u003c/em> by John Adams and Alice Goodman, or \u003ca href=\"https://en.wikipedia.org/wiki/X,_The_Life_and_Times_of_Malcolm_X\" target=\"_blank\" rel=\"noopener\">\u003cem>The Life and Times of Malcolm X\u003c/em>\u003c/a> by Anthony Davis. Now added to that list is \u003cem>The Source\u003c/em>, from 2016, about soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html?_r=0\" target=\"_blank\" rel=\"noopener\">Chelsea Manning\u003c/a>’s decision to disclose \u003ca href=\"http://www.newsweek.com/chelsea-manning-real-legacy-increased-surveillance-548666\" target=\"_blank\" rel=\"noopener\">hundreds of thousands of classified and sensitive documents to WikiLeaks\u003c/a>, her courtmartial, and her sex reassignment surgery. Composer Ted Hearne, who teaches composition at U.S.C., and librettist Mark Doten have created a kind of pop collage out of vocal, instrumental, and recorded sounds sung by a group of vocalists using a lot of autotune. The story is all the more compelling after former President Barack Obama’s pardoning of Manning. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">Details for the show at the San Francisco Opera Lab are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xa78BMHajPM\u003c/p>\n\u003cp>\u003cstrong>Feb. 28: \u003c/strong>The \u003ca href=\"https://www.youtube.com/watch?v=OHpzQr-2xeo\" target=\"_blank\" rel=\"noopener\">Bell X-1\u003c/a> was the first plane to break the sound barrier, and the name also inspired a group of young rockers from Ireland. Bell X1 make lovely danceable pop and gorgeous ballads. They write smart lyrics, mixing the personal with the political on song like “Sons and Daughters,” asking future generations for forgiveness for the mistakes of the present — and on “The End is Nigh,” they ask “Will the wrong guy get the codes,” which seems an apt question for Europeans worried about our election of President Donald Trump. San Francisco is the last stop on a short U.S. Tour for the Bell X1, before they return to their home base in Dublin, Ireland. Details for their show at \u003ca href=\"http://www.thechapelsf.com/event/1385118-bell-x1-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel in San Francisco are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sZTXN084yTw\u003c/p>\n\u003cp>\u003cstrong>Feb. 28–March 2:\u003c/strong> We squeezed in a pair of shoutouts as well. David picked former Bay Area resident \u003ca href=\"http://www.billhayes.com/\" target=\"_blank\" rel=\"noopener\">Bill Hayes\u003c/a>, who returns to read from his new memoir \u003ca href=\"http://www.bloomsbury.com/us/insomniac-city-9781620404959/\" target=\"_blank\" rel=\"noopener\">\u003cem>Insomniac City\u003c/em>\u003c/a>, focusing on his love affair with both New York City and the late author and psychiatrist Oliver Sacks. Hayes reads at Mrs. Dalloway’s in Berkeley on Feb. 28, at Rakestraw Books in Danville on March 1, and Book Passage in San Francisco on March 2. Details for all appearances \u003ca href=\"http://www.billhayes.com/events/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 25–26\u003c/strong>: And I champion the \u003ca href=\"http://villalobosbrothers.com/\" target=\"_blank\" rel=\"noopener\">Villalobos Brothers\u003c/a>, a marvelous band of violinists playing jazz and Mexican roots music. They’re part of \u003ca href=\"https://sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest on \u003c/a>Feb. 25, and at \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight & Salvage \u003c/a>on Feb. 26. \u003ca href=\"http://villalobosbrothers.com/tour/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\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": "The Do List features an opera on Chelsea Manning, Otis Taylor's trance blues, the band Bell X1 and more.",
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"title": "Cy and David's Picks: Musical Notes from Native California, Trance Blues, and Bell X1's High-Flying Pop | KQED",
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"headline": "Cy and David's Picks: Musical Notes from Native California, Trance Blues, and Bell X1's High-Flying Pop",
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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/2017/02/TDL20170224.mp3\u003c/p>\n\u003cp>The list is long this week for amazing stuff we couldn’t fit in the show. Yiddish songbird \u003ca href=\"http://www.heatherklein.net/\" target=\"_blank\" rel=\"noopener\">Heather Klein\u003c/a> premieres \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale/\" target=\"_blank\" rel=\"noopener\">her new one–woman musical, \u003cem>Shanghai Angel\u003c/em>\u003c/a>, about her grandmother’s emigration from Austria to Shanghai to America through Angel Island. It’s Feb. 26\u003ca href=\"https://www.thecjm.org/programs/55\" target=\"_blank\" rel=\"noopener\"> at the Contemporary Jewish Museum.\u003c/a> \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">Naatak \u003c/a>opens the very timely play \u003cem>Airport Insecurity, \u003c/em>a Trump-esque tale of an Indian techie stuck at an airport in immigration limbo. It’s \u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">at the Cubberley Community Center in Palo Alto\u003c/a>, running Feb. 24-March 4. And for the ultimate in cool and classical, \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates \u003c/a>DJs and directs one of his\u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.mercurysoul.org/\" target=\"_blank\" rel=\"noopener\"> Mercury Soul \u003c/a>shows on Feb. 24, called \u003cem>Baroque & Beats\u003c/em> at the \u003ca href=\"https://www.dnalounge.com/calendar/2017/02-24.html\" target=\"_blank\" rel=\"noopener\">DNA Lounge\u003c/a>. Now for the show.\u003c/span>\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/0TJPYb1KxXc'\n title='//www.youtube.com/embed/0TJPYb1KxXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 24–25\u003c/strong>: \u003ca href=\"https://www.otistaylor.com/index.html\" target=\"_blank\" rel=\"noopener\">Otis Taylor\u003c/a>’s new album, \u003cem>Fantasizing about Being Black,\u003c/em> is about the history of the African American experience, from the slave ships to the Mississippi Delta, and the blues music that was born of those influences. Taylor has always recognized that the blues are a form of protest music, and there’s plenty of comment here on the racism that endures in America today. He’s got a great band, too, with Anne Harris on violin. Details for his two shows at Biscuits and Blues are \u003ca href=\"http://biscuitsandblues.com/otistaylorband\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg\" alt=\"Monet's 'Pointe de la Heve.' part of the exhibition at the Legion of Honor in San Francisco\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1020x601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve.jpg 1523w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monet’s ‘Pointe de la Heve.’ part of the exhibition at the Legion of Honor in San Francisco. \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 28–May 29:\u003c/strong> The French painter \u003ca href=\"http://www.sfgate.com/local/article/Monet-comes-to-San-Francisco-s-Legion-of-Honor-10921548.php\" target=\"_blank\" rel=\"noopener\">Claude Monet \u003c/a>is most famous for his huge water lily paintings, done late in life. But we get a new perspective on the French artist in a show coming to the Legion of Honor called \u003cem>Monet: the Early Years,\u003c/em> with 60 paintings demonstrating a period in the mid-19th century when the artist was part of a generation re-inventing painting. “I didn’t become an impressionist,” the catalog quotes Monet. “As long as I can remember I always have been one.” He was always, as well, a master of color and a lover of landscapes. What a treat to see this first major U.S. exhibition devoted to Monet’s early works. Details for the show are \u003ca href=\"https://legionofhonor.famsf.org/monet-early-yearsand\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/002-800x600.jpg\" alt=\"Kanyon Sayers Rood sings with the Oakland Symphony in its program 'Notes from Native California'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers Rood sings with the Oakland Symphony in its program ‘Notes from Native California.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24\u003c/strong>: The Oakland Symphony is presenting its annual concert celebrating world music traditions, and this year Conductor Michael Morgan sticks close to home with a program called \u003cem>Notes from Native California\u003c/em>. Among the pieces is \u003cem>Big Sur: The Night Sun\u003c/em>, by John Wineglass, featuring the voice of Ohlone/Chumash singer \u003ca href=\"http://nativenewsonline.net/currents/ohlonechumash-artist-kanyon-sayers-roods-exhibits-gathering-tribes/\" target=\"_blank\" rel=\"noopener\">Kanyon Sayers-Roods\u003c/a>, whose amazing soprano voice I first heard a few weeks ago at the \u003ca href=\"https://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House \u003c/a>in Oakland. Sayers-Roods told me she makes up her own songs, and quotes her mom on how they’re not traditional, but still authentic. “My mother goes, ‘That is spirit. Those are our ancestors speaking through you. That is your culture being awakened. That is truth,'” Sayers-Roods said. “Because my mother and my grandmother have always shared a quote, ‘When song, ceremony and dance stop, so does the earth,’ and I too believe that.” She’s just one of the highlights for a concert that also features Shostakovitch’s Ninth Symphony. \u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Feb. 24–March 3\u003c/strong>: There’s a category called CNN Opera, describing a musical about a modern political event or movement. Think \u003cem>\u003ca href=\"https://www.earbox.com/the-death-of-klinghoffer/\" target=\"_blank\" rel=\"noopener\">The Death of Klinghoffer\u003c/a>\u003c/em> by John Adams and Alice Goodman, or \u003ca href=\"https://en.wikipedia.org/wiki/X,_The_Life_and_Times_of_Malcolm_X\" target=\"_blank\" rel=\"noopener\">\u003cem>The Life and Times of Malcolm X\u003c/em>\u003c/a> by Anthony Davis. Now added to that list is \u003cem>The Source\u003c/em>, from 2016, about soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html?_r=0\" target=\"_blank\" rel=\"noopener\">Chelsea Manning\u003c/a>’s decision to disclose \u003ca href=\"http://www.newsweek.com/chelsea-manning-real-legacy-increased-surveillance-548666\" target=\"_blank\" rel=\"noopener\">hundreds of thousands of classified and sensitive documents to WikiLeaks\u003c/a>, her courtmartial, and her sex reassignment surgery. Composer Ted Hearne, who teaches composition at U.S.C., and librettist Mark Doten have created a kind of pop collage out of vocal, instrumental, and recorded sounds sung by a group of vocalists using a lot of autotune. The story is all the more compelling after former President Barack Obama’s pardoning of Manning. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">Details for the show at the San Francisco Opera Lab 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/xa78BMHajPM'\n title='//www.youtube.com/embed/xa78BMHajPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 28: \u003c/strong>The \u003ca href=\"https://www.youtube.com/watch?v=OHpzQr-2xeo\" target=\"_blank\" rel=\"noopener\">Bell X-1\u003c/a> was the first plane to break the sound barrier, and the name also inspired a group of young rockers from Ireland. Bell X1 make lovely danceable pop and gorgeous ballads. They write smart lyrics, mixing the personal with the political on song like “Sons and Daughters,” asking future generations for forgiveness for the mistakes of the present — and on “The End is Nigh,” they ask “Will the wrong guy get the codes,” which seems an apt question for Europeans worried about our election of President Donald Trump. San Francisco is the last stop on a short U.S. Tour for the Bell X1, before they return to their home base in Dublin, Ireland. Details for their show at \u003ca href=\"http://www.thechapelsf.com/event/1385118-bell-x1-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel in San Francisco 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/sZTXN084yTw'\n title='//www.youtube.com/embed/sZTXN084yTw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 28–March 2:\u003c/strong> We squeezed in a pair of shoutouts as well. David picked former Bay Area resident \u003ca href=\"http://www.billhayes.com/\" target=\"_blank\" rel=\"noopener\">Bill Hayes\u003c/a>, who returns to read from his new memoir \u003ca href=\"http://www.bloomsbury.com/us/insomniac-city-9781620404959/\" target=\"_blank\" rel=\"noopener\">\u003cem>Insomniac City\u003c/em>\u003c/a>, focusing on his love affair with both New York City and the late author and psychiatrist Oliver Sacks. Hayes reads at Mrs. Dalloway’s in Berkeley on Feb. 28, at Rakestraw Books in Danville on March 1, and Book Passage in San Francisco on March 2. Details for all appearances \u003ca href=\"http://www.billhayes.com/events/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 25–26\u003c/strong>: And I champion the \u003ca href=\"http://villalobosbrothers.com/\" target=\"_blank\" rel=\"noopener\">Villalobos Brothers\u003c/a>, a marvelous band of violinists playing jazz and Mexican roots music. They’re part of \u003ca href=\"https://sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest on \u003c/a>Feb. 25, and at \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight & Salvage \u003c/a>on Feb. 26. \u003ca href=\"http://villalobosbrothers.com/tour/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\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": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers",
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"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>[soundcloud url=”https://api.soundcloud.com/tracks/308119957″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Tough choices this week for the radio show. We barely had room for the \u003ca href=\"http://bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">12th Annual Bay Area Flamenco Festival\u003c/a>, run by Nina Menendez. She always puts on great shows, like the Feb. 19 concert featuring José Maya with his newest work \u003cem>Latente\u003c/em>, at the Herbst Theater. The Festival continues through Feb. 25 with shows in San Francisco and Oakland. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ta8GWrxUX34\u003c/p>\n\u003cp>\u003cstrong>Feb. 17 & 18:\u003c/strong> The Legendary Shack Shakers is the brainchild of J.D. Wilkes out of Paducah, Kentucky. He’s a harmonica player who sometimes strips off his shirt on stage — a somewhat punk move, but the music is deeply rooted in country and jump blues. We would call it rockabilly, but Wilkes hates that term. Doesn’t matter. It’s great music, and Wilkes is a renaissance man, with a novel out soon about the invasive plant \u003ca href=\"https://en.wikipedia.org/wiki/Kudzu\" target=\"_blank\" rel=\"noopener\">kudzu,\u003c/a> called \u003cem>The Vine That Ate the South\u003c/em>. Catch them at \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose (\u003ca href=\"http://www.ticketfly.com/event/1310927-legendary-shack-shakers-san-jose/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), or Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7013915&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12776487\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12776487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg\" alt=\"Georgia Engel stars in Annie Baker's Pulitzer Prize winning play 'John', opening Feb. 22 at the Strand Theater \" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Engel stars in Annie Baker’s Pulitzer Prize winning play ‘John,’ opening Feb. 22 at the Strand Theater. \u003ccite>(Photo: Michael Murphy/Signature Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 22–April 23\u003c/strong>: \u003ca href=\"http://newdramatists.org/annie-baker\" target=\"_blank\" rel=\"noopener\">Annie Baker\u003c/a> writes haunting plays in which sometimes, not much is happening. Yet she holds an audience with her deep insights into the meaning of relationships. \u003cem>John\u003c/em> is her enthusiastically reviewed, Obie Award-winning play from 2015 about a disintegrating marriage. It’s set at a bed and breakfast in Gettysburg, and explores the relationship that develops between the wife and the landlady at the B&B. It features the great actress \u003ca href=\"https://www.nytimes.com/2015/08/29/theater/georgia-engel-a-mary-tyler-moore-show-sidekick-takes-a-star-turn.html\" target=\"_blank\" rel=\"noopener\">Georgia Engel\u003c/a> (of \u003cem>The Mary Tyler Moore Show\u003c/em> and \u003cem>Everybody Loves Raymond\u003c/em>) as the landlady. Back in 2012, we had a mini-fest of Baker plays, with \u003cem>Aliens\u003c/em> at SF Playhouse, \u003cem>Body Awareness\u003c/em> at the Aurora, and \u003cem>Circle Mirror Transformation \u003c/em>at Marin Theatre Company. We’re so glad Baker is back in this American Conservatory Theater production at the Strand. \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/john.html\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ZJJsvlrDqg\u003c/p>\n\u003cp>\u003cstrong>Feb. 17: \u003c/strong>Bay Area singer-songwriter \u003ca href=\"http://rachelefron.com/\" target=\"_blank\" rel=\"noopener\">Rachel Efron \u003c/a>has a small, high voice that, according to a review by my co-host David Wiegand, “hooks you by the heart.” This week, she teams up with Ira Marlowe, another under-appreciated Bay Area singer-songwriter, for a show they’re calling \u003cem>Gods and Monsters\u003c/em>. It’s a musical exploration which promises to be less horror movie, and more about the way “we make gods and monsters of each other.” Sounds like modern politics. Details for their show at the Monkey House in Berkeley are \u003ca href=\"https://www.evensi.us/gods-amp-monsters-two-songwriters-plumb-the-dark-amp-the/199473780\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>cheap thrill\u003c/strong>, with tickets as low as $10.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vrxM-jPOFQo\u003c/p>\n\u003cp>\u003cstrong>Feb. 17–26:\u003c/strong> Mary Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is almost 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity. Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story. It opened last year in London, and now Scarlett is overseeing a new production for the San Francisco Ballet. I asked Scarlett how he gets this awkward creature, assembled from ill-fitting parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett told me backstage during a break from rehearsal. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.” Details for this San Francisco Ballet co-commission at the San Francisco Opera House are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bn15IvVrprw\u003c/p>\n\u003cp>\u003cstrong>Feb. 17–26\u003c/strong>: The Noise Pop Festival, San Francisco’s indie music and arts fest, is 25 years old and hitting its prime. What started as six bands for five bucks at on a single night has grown into a music and film festival with more than 150 acts at venues in San Francisco and Oakland. There’s still an emphasis on local bands like Rogue Wave, Hot Flash Heat Wave and Ty Segall, but you can also catch Long Beach hip-hop star Vince Staples, the Joy Formidable, MSTRKRFT, plus Michelle Zauner’s Japanese Breakfast. Plus movies — including \u003cem>Hired Gun\u003c/em>, about the anonymous virtuosos who join bands for recording sessions and concerts, and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">The Resurrection of Victor Jara\u003c/a>\u003c/em>, about the beloved radical Chilean folk singer. Read recommendations by KQED Arts Music Editor Emma Silvers of \u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/five-great-noise-pop-shows-that-arent-sold-out/\" target=\"_blank\" rel=\"noopener\">shows that aren’t yet sold out here\u003c/a>, and see details for all Noise Pop shows \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kYLHKpAl1vs\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": "Annie Baker's 'John' at A.C.T., Rachel Efron and Ira Marlowe's 'Gods & Monsters' in Berkeley, 'Frankenstein' at SF Ballet and more round out this week's recommendations.",
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"title": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers | 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 events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/308119957″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/308119957″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tough choices this week for the radio show. We barely had room for the \u003ca href=\"http://bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">12th Annual Bay Area Flamenco Festival\u003c/a>, run by Nina Menendez. She always puts on great shows, like the Feb. 19 concert featuring José Maya with his newest work \u003cem>Latente\u003c/em>, at the Herbst Theater. The Festival continues through Feb. 25 with shows in San Francisco and Oakland. Now here’s the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ta8GWrxUX34'\n title='//www.youtube.com/embed/ta8GWrxUX34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17 & 18:\u003c/strong> The Legendary Shack Shakers is the brainchild of J.D. Wilkes out of Paducah, Kentucky. He’s a harmonica player who sometimes strips off his shirt on stage — a somewhat punk move, but the music is deeply rooted in country and jump blues. We would call it rockabilly, but Wilkes hates that term. Doesn’t matter. It’s great music, and Wilkes is a renaissance man, with a novel out soon about the invasive plant \u003ca href=\"https://en.wikipedia.org/wiki/Kudzu\" target=\"_blank\" rel=\"noopener\">kudzu,\u003c/a> called \u003cem>The Vine That Ate the South\u003c/em>. Catch them at \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose (\u003ca href=\"http://www.ticketfly.com/event/1310927-legendary-shack-shakers-san-jose/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), or Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7013915&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12776487\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12776487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg\" alt=\"Georgia Engel stars in Annie Baker's Pulitzer Prize winning play 'John', opening Feb. 22 at the Strand Theater \" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Engel stars in Annie Baker’s Pulitzer Prize winning play ‘John,’ opening Feb. 22 at the Strand Theater. \u003ccite>(Photo: Michael Murphy/Signature Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 22–April 23\u003c/strong>: \u003ca href=\"http://newdramatists.org/annie-baker\" target=\"_blank\" rel=\"noopener\">Annie Baker\u003c/a> writes haunting plays in which sometimes, not much is happening. Yet she holds an audience with her deep insights into the meaning of relationships. \u003cem>John\u003c/em> is her enthusiastically reviewed, Obie Award-winning play from 2015 about a disintegrating marriage. It’s set at a bed and breakfast in Gettysburg, and explores the relationship that develops between the wife and the landlady at the B&B. It features the great actress \u003ca href=\"https://www.nytimes.com/2015/08/29/theater/georgia-engel-a-mary-tyler-moore-show-sidekick-takes-a-star-turn.html\" target=\"_blank\" rel=\"noopener\">Georgia Engel\u003c/a> (of \u003cem>The Mary Tyler Moore Show\u003c/em> and \u003cem>Everybody Loves Raymond\u003c/em>) as the landlady. Back in 2012, we had a mini-fest of Baker plays, with \u003cem>Aliens\u003c/em> at SF Playhouse, \u003cem>Body Awareness\u003c/em> at the Aurora, and \u003cem>Circle Mirror Transformation \u003c/em>at Marin Theatre Company. We’re so glad Baker is back in this American Conservatory Theater production at the Strand. \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/john.html\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5ZJJsvlrDqg'\n title='//www.youtube.com/embed/5ZJJsvlrDqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17: \u003c/strong>Bay Area singer-songwriter \u003ca href=\"http://rachelefron.com/\" target=\"_blank\" rel=\"noopener\">Rachel Efron \u003c/a>has a small, high voice that, according to a review by my co-host David Wiegand, “hooks you by the heart.” This week, she teams up with Ira Marlowe, another under-appreciated Bay Area singer-songwriter, for a show they’re calling \u003cem>Gods and Monsters\u003c/em>. It’s a musical exploration which promises to be less horror movie, and more about the way “we make gods and monsters of each other.” Sounds like modern politics. Details for their show at the Monkey House in Berkeley are \u003ca href=\"https://www.evensi.us/gods-amp-monsters-two-songwriters-plumb-the-dark-amp-the/199473780\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>cheap thrill\u003c/strong>, with tickets as low as $10.\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/vrxM-jPOFQo'\n title='//www.youtube.com/embed/vrxM-jPOFQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17–26:\u003c/strong> Mary Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is almost 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity. Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story. It opened last year in London, and now Scarlett is overseeing a new production for the San Francisco Ballet. I asked Scarlett how he gets this awkward creature, assembled from ill-fitting parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett told me backstage during a break from rehearsal. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.” Details for this San Francisco Ballet co-commission at the San Francisco Opera House are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" 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/bn15IvVrprw'\n title='//www.youtube.com/embed/bn15IvVrprw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17–26\u003c/strong>: The Noise Pop Festival, San Francisco’s indie music and arts fest, is 25 years old and hitting its prime. What started as six bands for five bucks at on a single night has grown into a music and film festival with more than 150 acts at venues in San Francisco and Oakland. There’s still an emphasis on local bands like Rogue Wave, Hot Flash Heat Wave and Ty Segall, but you can also catch Long Beach hip-hop star Vince Staples, the Joy Formidable, MSTRKRFT, plus Michelle Zauner’s Japanese Breakfast. Plus movies — including \u003cem>Hired Gun\u003c/em>, about the anonymous virtuosos who join bands for recording sessions and concerts, and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">The Resurrection of Victor Jara\u003c/a>\u003c/em>, about the beloved radical Chilean folk singer. Read recommendations by KQED Arts Music Editor Emma Silvers of \u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/five-great-noise-pop-shows-that-arent-sold-out/\" target=\"_blank\" rel=\"noopener\">shows that aren’t yet sold out here\u003c/a>, and see details for all Noise Pop shows \u003ca href=\"http://lineup.noisepop.com/\" 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/kYLHKpAl1vs'\n title='//www.youtube.com/embed/kYLHKpAl1vs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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": "'The Christians' Isn't so Much a Play as a Strange, Brilliant Sermon",
"headTitle": "‘The Christians’ Isn’t so Much a Play as a Strange, Brilliant Sermon | KQED",
"content": "\u003cp>Lucas Hnath’s \u003cem>The Christians\u003c/em>, receiving its Bay Area premiere in a fine production under Bill English’s direction at \u003ca href=\"http://sfplayhouse.org/sfph/2016-2017-season/the-christians/\" target=\"_blank\" rel=\"noopener\">SF Playhouse\u003c/a>, starts with what seems to be a simple story. When a 17-year old Muslim boy runs into a burning grocery store and dies saving his seven-year old sister, his body shielding her from the flames, what happens to him? He’s a hero, of course. But what happens to his soul?\u003c/p>\n\u003cp>Pastor Paul thinks he knows what his flock thinks, and what Christians think more generally. He would like them to think otherwise — that this heroic young Muslim will not be going to hell but instead to heaven. And so in the sermon that opens the play, Paul cannily works the story into a larger one about the congregation’s financial status, the first time Paul met his wife, and the need for radical change.\u003c/p>\n\u003cp>We know that Paul is manipulating his congregants, that the way he constructs his sermon is designed to catch people off guard. His techniques include subtle threats (“There is a crack in the foundation of this church”), a subtle eroticism (“I have a powerful urge to communicate with you”), and declarations of strength (“We are no longer that kind of church”).\u003c/p>\n\u003cfigure id=\"attachment_12742366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12742366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg\" alt=\"(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet we overlook Paul’s machinations. After all, what he’s preaching is what we should believe: that all souls are equal, that goodness matters, and that it would be a sick injustice to entertain for even a moment that such a heroic young man should go to hell for simply not finding Christ. In a just world, Christ should find him.\u003c/p>\n\u003cp>One of the chief pleasures of \u003cem>The Christians\u003c/em> is that we’re not so much enmeshed in a drama, as we are in the drama of a theological debate. The play not only begins with a sermon, but also in tone and structure resembles a church service. There’s a full choir; an associate pastor, Joshua; a church elder, Jay; and Paul’s wife Elizabeth who leads a women’s bible study group. As in many churches, these leaders sit in a row before us and take their turns performing various aspects of the liturgy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What we know of the past is set up by Paul’s simple and direct narration of events: “And Brother Joshua says,” “And Elder Jay walks into my office,” “And I look at my wife and say.” And then those scenes are reenacted, not realistically, but as they might be in a church service — kind of stilted, not quite dramatic, and with microphones. It’s a curiously moving effect, as if everyone is trying to contain the emotion that amplification threatens to unleash.\u003c/p>\n\u003cfigure id=\"attachment_12742364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742364 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg\" alt=\"(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>The Christians\u003c/em> is filled with scenes of high drama, its form and presentation — ably supported by a slew of excellent, understated performances — are low-key. Paul’s belief that his church must undergo a radical change roils everyone around him, and yet the proceedings remain polite and curiously distant. Hnath catches the way the rituals and temperament of the suburban Protestant Church demand a decency of spirit even when caught in the midst of overwhelming emotion.\u003c/p>\n\u003cp>Scenes that would normally descend into the melodramatic take on a complexity and richness that’s disconcerting. Associate pastor Joshua would be a classic villain in most American plays. He’s a moral scold, ambitious, and needlessly confrontational. And worse, his reaction to Paul’s sermon about the Muslim boy who dies saving his little sister, is that the boy will go to hell. Yet his belief in hell guides him to behave in ways that are truly exemplary.\u003c/p>\n\u003cp>The play ends with the possible dissolution of Paul and Elizabeth’s marriage, as they debate over the nature of Christ’s salvation. She too, like Joshua, refuses to give up on hell. It’s ludicrous to watch two people fight while carefully speaking into microphones and pretending to have a private conversation. But the aesthetic awkwardness is freeing.\u003c/p>\n\u003cfigure id=\"attachment_12742363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742363 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg\" alt=\"Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We aren’t watching a couple argue, but rather a careful reconstruction of that argument as an expression of ritual and faith. And because of this, we listen with great care and follow a set of conventions that aren’t so much dramatic, as they are about what it means to believe. These are people for whom Christ’s love and demands are real and so their personal drama is always at a remove. The real action is how to live in the face of such stringent and beautiful beliefs.\u003c/p>\n\u003cp>That’s a shocking achievement, and for this alone, \u003cem>The Christians\u003c/em> is worthy of our attention. It’s an impressive play all the way to the end — and then for some reason Hnath doesn’t finish the job. We never get to the end of the service and formal closure. What happens to Pastor Paul doesn’t matter, but the completion of the ritual does. Without that lens, the play’s ending feels like a rejection of everything the playwright has accomplished up to then. And I guess my most damning critique is that in its concluding moments, \u003cem>The Christians\u003c/em> feels like a play.\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>‘The Christians’ runs through Saturday, Mar. 11 at SF Playhouse in San Francisco. For tickets and information \u003ca href=\"https://sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "When a 17-year old Muslim boy runs into a burning grocery store and dies saving his seven-year old sister, his body shielding her from the flames, what happens to him? He’s a hero, of course. But what happens to his soul?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lucas Hnath’s \u003cem>The Christians\u003c/em>, receiving its Bay Area premiere in a fine production under Bill English’s direction at \u003ca href=\"http://sfplayhouse.org/sfph/2016-2017-season/the-christians/\" target=\"_blank\" rel=\"noopener\">SF Playhouse\u003c/a>, starts with what seems to be a simple story. When a 17-year old Muslim boy runs into a burning grocery store and dies saving his seven-year old sister, his body shielding her from the flames, what happens to him? He’s a hero, of course. But what happens to his soul?\u003c/p>\n\u003cp>Pastor Paul thinks he knows what his flock thinks, and what Christians think more generally. He would like them to think otherwise — that this heroic young Muslim will not be going to hell but instead to heaven. And so in the sermon that opens the play, Paul cannily works the story into a larger one about the congregation’s financial status, the first time Paul met his wife, and the need for radical change.\u003c/p>\n\u003cp>We know that Paul is manipulating his congregants, that the way he constructs his sermon is designed to catch people off guard. His techniques include subtle threats (“There is a crack in the foundation of this church”), a subtle eroticism (“I have a powerful urge to communicate with you”), and declarations of strength (“We are no longer that kind of church”).\u003c/p>\n\u003cfigure id=\"attachment_12742366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12742366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg\" alt=\"(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet we overlook Paul’s machinations. After all, what he’s preaching is what we should believe: that all souls are equal, that goodness matters, and that it would be a sick injustice to entertain for even a moment that such a heroic young man should go to hell for simply not finding Christ. In a just world, Christ should find him.\u003c/p>\n\u003cp>One of the chief pleasures of \u003cem>The Christians\u003c/em> is that we’re not so much enmeshed in a drama, as we are in the drama of a theological debate. The play not only begins with a sermon, but also in tone and structure resembles a church service. There’s a full choir; an associate pastor, Joshua; a church elder, Jay; and Paul’s wife Elizabeth who leads a women’s bible study group. As in many churches, these leaders sit in a row before us and take their turns performing various aspects of the liturgy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What we know of the past is set up by Paul’s simple and direct narration of events: “And Brother Joshua says,” “And Elder Jay walks into my office,” “And I look at my wife and say.” And then those scenes are reenacted, not realistically, but as they might be in a church service — kind of stilted, not quite dramatic, and with microphones. It’s a curiously moving effect, as if everyone is trying to contain the emotion that amplification threatens to unleash.\u003c/p>\n\u003cfigure id=\"attachment_12742364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742364 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg\" alt=\"(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>The Christians\u003c/em> is filled with scenes of high drama, its form and presentation — ably supported by a slew of excellent, understated performances — are low-key. Paul’s belief that his church must undergo a radical change roils everyone around him, and yet the proceedings remain polite and curiously distant. Hnath catches the way the rituals and temperament of the suburban Protestant Church demand a decency of spirit even when caught in the midst of overwhelming emotion.\u003c/p>\n\u003cp>Scenes that would normally descend into the melodramatic take on a complexity and richness that’s disconcerting. Associate pastor Joshua would be a classic villain in most American plays. He’s a moral scold, ambitious, and needlessly confrontational. And worse, his reaction to Paul’s sermon about the Muslim boy who dies saving his little sister, is that the boy will go to hell. Yet his belief in hell guides him to behave in ways that are truly exemplary.\u003c/p>\n\u003cp>The play ends with the possible dissolution of Paul and Elizabeth’s marriage, as they debate over the nature of Christ’s salvation. She too, like Joshua, refuses to give up on hell. It’s ludicrous to watch two people fight while carefully speaking into microphones and pretending to have a private conversation. But the aesthetic awkwardness is freeing.\u003c/p>\n\u003cfigure id=\"attachment_12742363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742363 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg\" alt=\"Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We aren’t watching a couple argue, but rather a careful reconstruction of that argument as an expression of ritual and faith. And because of this, we listen with great care and follow a set of conventions that aren’t so much dramatic, as they are about what it means to believe. These are people for whom Christ’s love and demands are real and so their personal drama is always at a remove. The real action is how to live in the face of such stringent and beautiful beliefs.\u003c/p>\n\u003cp>That’s a shocking achievement, and for this alone, \u003cem>The Christians\u003c/em> is worthy of our attention. It’s an impressive play all the way to the end — and then for some reason Hnath doesn’t finish the job. We never get to the end of the service and formal closure. What happens to Pastor Paul doesn’t matter, but the completion of the ritual does. Without that lens, the play’s ending feels like a rejection of everything the playwright has accomplished up to then. And I guess my most damning critique is that in its concluding moments, \u003cem>The Christians\u003c/em> feels like a play.\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>‘The Christians’ runs through Saturday, Mar. 11 at SF Playhouse in San Francisco. For tickets and information \u003ca href=\"https://sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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