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"content": "\u003cp>It’s not unusual to hear about the revival of a musical, but these days it feels like there’s a revival of the entire musical genre. From \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/thousands-line-up-online-and-in-person-for-hamilton-tickets/\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> on Broadway to \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/09/la-la-land-dominates-golden-globe-awards/\" target=\"_blank\" rel=\"noopener\">La La Land\u003c/a>\u003c/em> on the big screen, musical theater is a pop culture phenomenon.\u003c/p>\n\u003cp>And it is a phenomenon that appeals to all ages — including 53 kids all part of the \u003ca href=\"http://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) who danced and sang their way around an Oakland auditorium this week.\u003c/p>\n\u003cp>The kids — ranging in age from 9 to 17 years old — were rehearsing a calypso number from a new musical based on the “Magic Tree House” book series that they’ll debut this weekend at the Junior Theater Festival West in Sacramento.\u003c/p>\n\u003cp>So here they all were on a Saturday afternoon, eagerly practicing their songs and dances for hours on end.\u003c/p>\n\u003cp>Some waved ribbons high in the air, mimicking a foamy sea. Others twirled orange umbrellas in the shape of a giant sun while belting out their harmonies. Then there was Sophia Gilbert, playing Annie, one of the “Magic Tree House” explorers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/02/2017-02-10b-tcrmag.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/Sophia800.jpg\" Title=\"Bay Area Kids Find Joy, Community in Junior Musicals\" program=\"The California Report\"]\u003c/p>\n\u003cp>“When you’re 11 and you’re doing musical theater,” Gilbert told me after rehearsal, “grownups maybe sometimes think that when you’re younger you don’t care as much but I think that no matter what age you are you can still put your heart into it.”\u003c/p>\n\u003cp>There is a lot of heart to go around here, and hard work. It’s a rare chance for the students to rehearse with the founder of the \u003ca href=\"http://itheatrics.com/jtf/\" target=\"_blank\" rel=\"noopener\">Junior Theater Festival\u003c/a>, Tim McDonald.\u003c/p>\n\u003cp>McDonald alternately watched quietly and handed out instructions.\u003c/p>\n\u003cp>But he also listened to input from the performers and encouraged their ideas about staging. One lead asks if she can cross the stage at various points in her song to different characters.\u003c/p>\n\u003cp>“Is that what your body is telling you to do?” asked McDonald. “Then let’s try it.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Three times as many people who see a Broadway show get their musical theater fix by watching their kids perform one of these adaptations.’\u003ccite>Tim McDonald\u003c/cite>\u003c/aside>\n\u003cp>It’s no surprise that McDonald has spent most of his career trying to get students more involved in musicals.\u003c/p>\n\u003cp>“Twenty years ago the audiences for musical theater were literally dying out, they were aging out,” says McDonald, “and young people weren’t picking up that torch.”\u003c/p>\n\u003cp>Then, McDonald says, the composer Steven Sondheim and playwright/screenwriter Arthur Laurents — known together for their collaboration on \u003cem>West Side Story\u003c/em> — came along. They reasoned that because of their complexity, most students only got first-hand experience with musical theater productions starting in high school.\u003c/p>\n\u003cp>Sondheim’s idea? To create one-hour versions of shows tailored to elementary and middle school kids. They would keep only essential plot lines and move the music into keys that are accessible for young voices.\u003c/p>\n\u003cp>Sondheim and Laurents found an eager partner in Fred Gershon, CEO of Musical Theater International, which licenses musicals.\u003c/p>\n\u003cp>Tim McDonald was charged with carrying out the initial idea. Now McDonald estimates his company iTheatrics has an audience of about 36 million people a year — compared to 12 million who go to a traditional show in New York.\u003c/p>\n\u003cp>“So three times as many people… who see a Broadway show get their musical theater fix by watching their kids perform one of these adaptations,” says McDonald.\u003c/p>\n\u003cfigure id=\"attachment_11311182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/BACTEnsemble-800x504.jpg\" alt=\"The Bay Area Children's Theater ensemble in a dress rehearsal of the calypso number for the new \" magic tree house junior play. width=\"800\" height=\"504\" class=\"size-medium wp-image-11311182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-1180x743.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-520x327.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area Children’s Theater ensemble in a dress rehearsal of the calypso number for the new “Magic Tree House” junior play. \u003ccite>(Rachel Dornhelm/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But McDonald and most of the people in this Oakland auditorium today would likely highlight even more the benefit to the young people.\u003c/p>\n\u003cp>One after another the performers detailed the joy, and their growth from musical theater.\u003c/p>\n\u003cp>Like Jack Stickler. He’s 14 years old and got to play the lead in the show \u003cem>Honk Jr.\u003c/em> last year. He said he couldn’t stop singing the songs during the run, they resonated so much.\u003c/p>\n\u003cp>“When I went on stage and performed as the Ugly Duckling I had that feeling that I wasn’t Jack Stickler anymore I was this character and it was the best feeling ever,” said Stickler. “It changed my world because everyone was just so supportive and it was that environment where I felt this big feeling of belonging.”\u003c/p>\n\u003cp>14 year old Lauren Staelin has been doing musical theater for 7 years. She said people are often surprised when they see her on stage. She said she is generally reserved but in shows, she often plays hammy, gregarious characters.\u003c/p>\n\u003cp>“The best thing about musical theater is you get to escape,” said Staelin. “I love doing theater because I really get to express myself and I also get to experiment with what I’m comfortable with.”\u003c/p>\n\u003cp>Her castmate Sumuk Cadpakar agreed that he likes exploring different characters.\u003c/p>\n\u003cp>But Cadpakar said drama has also helped as he dealt with being bullied at school.\u003c/p>\n\u003cp>“One time I played a bully in a school show,” said Cadpakar. “In that musical I loved the way the character I was playing bullied another character but that character stood up for himself and that really taught me how someone else would feel.”\u003c/p>\n\u003cp>Last year Cadpakar was part of the group from the Bay Area Children’s Theater that went to the national Junior Theater Festival on the East Coast. He said s he wouldn’t easily forget the euphoric feeling of going up on stage there to accept an award with his cast.\u003c/p>\n\u003cp>“It was just like 5,000 people screaming at you and showing support, how much they care,” said Cadpakar.\u003c/p>\n\u003cp>For the kids, the awards may be a memorable part of the Junior Theater Festivals. But organizer Tim McDonald said the friendly competition and festival has a larger point as well.\u003c/p>\n\u003cp>He remembers growing up outside of Redding, and his high school’s women’s basketball team winning a state title. It was clear from the moment they returned to town, he recalled, that because of that glory, the program was never going to get cut.\u003c/p>\n\u003cp>McDonald reasoned there should be the same opportunity for theater programs to bring attention to their schools and communities.\u003c/p>\n\u003cp>“If we can identify and recognize excellent musical theater programs in schools and afterschool programs, we hope, in fact we know we are giving those programs a chance to be recession proof and cut proof,” said McDonald.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fifteen hundred people are expected to participate and compete for that attention at the Junior Theater Festival West this weekend in Sacramento.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not unusual to hear about the revival of a musical, but these days it feels like there’s a revival of the entire musical genre. From \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/thousands-line-up-online-and-in-person-for-hamilton-tickets/\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> on Broadway to \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/09/la-la-land-dominates-golden-globe-awards/\" target=\"_blank\" rel=\"noopener\">La La Land\u003c/a>\u003c/em> on the big screen, musical theater is a pop culture phenomenon.\u003c/p>\n\u003cp>And it is a phenomenon that appeals to all ages — including 53 kids all part of the \u003ca href=\"http://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) who danced and sang their way around an Oakland auditorium this week.\u003c/p>\n\u003cp>The kids — ranging in age from 9 to 17 years old — were rehearsing a calypso number from a new musical based on the “Magic Tree House” book series that they’ll debut this weekend at the Junior Theater Festival West in Sacramento.\u003c/p>\n\u003cp>So here they all were on a Saturday afternoon, eagerly practicing their songs and dances for hours on end.\u003c/p>\n\u003cp>Some waved ribbons high in the air, mimicking a foamy sea. Others twirled orange umbrellas in the shape of a giant sun while belting out their harmonies. Then there was Sophia Gilbert, playing Annie, one of the “Magic Tree House” explorers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you’re 11 and you’re doing musical theater,” Gilbert told me after rehearsal, “grownups maybe sometimes think that when you’re younger you don’t care as much but I think that no matter what age you are you can still put your heart into it.”\u003c/p>\n\u003cp>There is a lot of heart to go around here, and hard work. It’s a rare chance for the students to rehearse with the founder of the \u003ca href=\"http://itheatrics.com/jtf/\" target=\"_blank\" rel=\"noopener\">Junior Theater Festival\u003c/a>, Tim McDonald.\u003c/p>\n\u003cp>McDonald alternately watched quietly and handed out instructions.\u003c/p>\n\u003cp>But he also listened to input from the performers and encouraged their ideas about staging. One lead asks if she can cross the stage at various points in her song to different characters.\u003c/p>\n\u003cp>“Is that what your body is telling you to do?” asked McDonald. “Then let’s try it.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Three times as many people who see a Broadway show get their musical theater fix by watching their kids perform one of these adaptations.’\u003ccite>Tim McDonald\u003c/cite>\u003c/aside>\n\u003cp>It’s no surprise that McDonald has spent most of his career trying to get students more involved in musicals.\u003c/p>\n\u003cp>“Twenty years ago the audiences for musical theater were literally dying out, they were aging out,” says McDonald, “and young people weren’t picking up that torch.”\u003c/p>\n\u003cp>Then, McDonald says, the composer Steven Sondheim and playwright/screenwriter Arthur Laurents — known together for their collaboration on \u003cem>West Side Story\u003c/em> — came along. They reasoned that because of their complexity, most students only got first-hand experience with musical theater productions starting in high school.\u003c/p>\n\u003cp>Sondheim’s idea? To create one-hour versions of shows tailored to elementary and middle school kids. They would keep only essential plot lines and move the music into keys that are accessible for young voices.\u003c/p>\n\u003cp>Sondheim and Laurents found an eager partner in Fred Gershon, CEO of Musical Theater International, which licenses musicals.\u003c/p>\n\u003cp>Tim McDonald was charged with carrying out the initial idea. Now McDonald estimates his company iTheatrics has an audience of about 36 million people a year — compared to 12 million who go to a traditional show in New York.\u003c/p>\n\u003cp>“So three times as many people… who see a Broadway show get their musical theater fix by watching their kids perform one of these adaptations,” says McDonald.\u003c/p>\n\u003cfigure id=\"attachment_11311182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/BACTEnsemble-800x504.jpg\" alt=\"The Bay Area Children's Theater ensemble in a dress rehearsal of the calypso number for the new \" magic tree house junior play. width=\"800\" height=\"504\" class=\"size-medium wp-image-11311182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-1180x743.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-520x327.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area Children’s Theater ensemble in a dress rehearsal of the calypso number for the new “Magic Tree House” junior play. \u003ccite>(Rachel Dornhelm/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But McDonald and most of the people in this Oakland auditorium today would likely highlight even more the benefit to the young people.\u003c/p>\n\u003cp>One after another the performers detailed the joy, and their growth from musical theater.\u003c/p>\n\u003cp>Like Jack Stickler. He’s 14 years old and got to play the lead in the show \u003cem>Honk Jr.\u003c/em> last year. He said he couldn’t stop singing the songs during the run, they resonated so much.\u003c/p>\n\u003cp>“When I went on stage and performed as the Ugly Duckling I had that feeling that I wasn’t Jack Stickler anymore I was this character and it was the best feeling ever,” said Stickler. “It changed my world because everyone was just so supportive and it was that environment where I felt this big feeling of belonging.”\u003c/p>\n\u003cp>14 year old Lauren Staelin has been doing musical theater for 7 years. She said people are often surprised when they see her on stage. She said she is generally reserved but in shows, she often plays hammy, gregarious characters.\u003c/p>\n\u003cp>“The best thing about musical theater is you get to escape,” said Staelin. “I love doing theater because I really get to express myself and I also get to experiment with what I’m comfortable with.”\u003c/p>\n\u003cp>Her castmate Sumuk Cadpakar agreed that he likes exploring different characters.\u003c/p>\n\u003cp>But Cadpakar said drama has also helped as he dealt with being bullied at school.\u003c/p>\n\u003cp>“One time I played a bully in a school show,” said Cadpakar. “In that musical I loved the way the character I was playing bullied another character but that character stood up for himself and that really taught me how someone else would feel.”\u003c/p>\n\u003cp>Last year Cadpakar was part of the group from the Bay Area Children’s Theater that went to the national Junior Theater Festival on the East Coast. He said s he wouldn’t easily forget the euphoric feeling of going up on stage there to accept an award with his cast.\u003c/p>\n\u003cp>“It was just like 5,000 people screaming at you and showing support, how much they care,” said Cadpakar.\u003c/p>\n\u003cp>For the kids, the awards may be a memorable part of the Junior Theater Festivals. But organizer Tim McDonald said the friendly competition and festival has a larger point as well.\u003c/p>\n\u003cp>He remembers growing up outside of Redding, and his high school’s women’s basketball team winning a state title. It was clear from the moment they returned to town, he recalled, that because of that glory, the program was never going to get cut.\u003c/p>\n\u003cp>McDonald reasoned there should be the same opportunity for theater programs to bring attention to their schools and communities.\u003c/p>\n\u003cp>“If we can identify and recognize excellent musical theater programs in schools and afterschool programs, we hope, in fact we know we are giving those programs a chance to be recession proof and cut proof,” said McDonald.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fifteen hundred people are expected to participate and compete for that attention at the Junior Theater Festival West this weekend in Sacramento.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-lou-harrison-at-100-austras-icy-warm-sound-and-cherry-glazerrs-teen-punk",
"title": "Cy and David's Picks: Lou Harrison at 100, Austra's Icy Warm Sound, and Cherry Glazerr's Teen Punk",
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"headTitle": "Cy and David’s Picks: Lou Harrison at 100, Austra’s Icy Warm Sound, and Cherry Glazerr’s Teen Punk | KQED",
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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>[soundcloud url=”https://api.soundcloud.com/tracks/306964570″ 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>One of the things we brood about here at the Do List (besides global annihilation) is the shortage of music clubs in the South Bay. And then along comes \u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winterfest\u003c/a>, with its conucopia of great shows, and our mood lifts off like a Roy Ayers solo. Yes, Roy Ayers is playing his neo-soul vibes during the fest.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And check out Bay Area native Natalie Cressman’s fine trombone work, veteran San Francisco singer Mary Stallings, and dozens of other shows. Details for San Jose Jazz Winterfest are \u003ca href=\"https://sanjosejazz.org/events/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now onto the rest of our show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7rzmhbiKUo0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 11\u003c/strong>: Austra has such a cool, polished electronic sound, but I still feel a blast of heat off the voice of singer Katie Stelmanis, formerly of Galaxy. She’s the force behind Austra, and wrote ‘Utopia,’ the song above, for her new album \u003cem>Future Politics.\u003c/em> She’s working with Maya Postepski, Dorian Wolf, and Ryan Wonsiak, and they make quite a wall of beautiful sounds. Details for Austra’s show at the Mezzanine in San Francisco are \u003ca href=\"http://mezzaninesf.com/events/austra/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=riupQGCF5a8\u003cbr>\n\u003cstrong>Feb. 11\u003c/strong>: Tap dancing hasn’t been cool in a long time, but I’m partial to this deeply American art form, born out of the same stew of influences that created jazz, and with a similar attention to rhythm, beat and improvisation. Here’s a chance to show tap some love. Rhythmic Circus is a troupe out of Minneapolis with a showoff style and a production called \u003cem>Feet Don’t Fail Me Now \u003c/em>(slightly misquoting \u003ca href=\"https://en.wikipedia.org/wiki/Feets,_Don't_Fail_Me_Now_(disambiguation)\" target=\"_blank\" rel=\"noopener\">Stepin Fetchit’s line\u003c/a>.) Details for their show at the Palo Alto JCC are \u003ca href=\"https://paloaltojcc.org/Events/rhythmic-circus\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12743888\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12743888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg\" alt=\"Lou Harrison \" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-160x122.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-768x587.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1020x780.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1180x902.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-960x734.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-240x183.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-375x287.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-520x398.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lou Harrison \u003ccite>(Photo: Courtesy of San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–18:\u003c/strong> Lou Harrison was the very definition of an American maverick. An early champion of Charles Ives and the challenging twelve-tone compositions of Schoenberg, his own music evolved into a lush and melodic tapestry of influences, including Gamelan from Bali and Indonesia, Native American music and jazz. He was a pacifist and activist against nuclear war, a fan of Esperanto, a calligrapher, and an out gay man at a time when that was still a large risk. Conductor and pianist Dennis Russell Davies calls him a great craftsman. “He could write beautiful twelve-tone dissonant music, he was at home in a Renaissance style,” Davies said. “Lou was not only gifted but also very well educated as a musician and composer. And I miss him very much, he was a good friend, and I’ve never forgotten the lessons I learned.” A number of music organizations (including SF Symphony’s SoundBox, in a \u003ca href=\"http://www.mercurynews.com/2016/12/10/review-brilliant-tribute-to-legendary-lou-harrison-kicks-off-san-francisco-symphony-soundbox-season/\" target=\"_blank\" rel=\"noopener\">magnificent program\u003c/a> last month) have been celebrating Harrison, with Bay Area concerts through June. Here’s the most comprehensive\u003ca href=\"http://otherminds.org/lou100/\" target=\"_blank\" rel=\"noopener\"> list\u003c/a> from the folks at \u003ca href=\"http://otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a>, which is staging what should be an extraordinary Harrison \u003ca href=\"http://om22concertone.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">concert on Feb. 18\u003c/a>, where Davies will conduct.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0oUoHtCTs4o\u003c/p>\n\u003cp>\u003cstrong>Feb. 10–12\u003c/strong>: The other big Lou Harrison event this month is the world premiere of Choreographer Nancy Karp’s \u003cem>Memory/Place\u003c/em> at ODC in San Francisco, featuring Harrison’s \u003cem>Grand Duo for Violin and Piano \u003c/em>(among other pieces). Karp’s ambitious evening-length dance is accompanied live by cellist Gianna Abondolo, pianist Sarah Cahill and violinist Kate Stenberg, with a set design by artist \u003ca href=\"http://www.theklahammond.com/\" target=\"_blank\" rel=\"noopener\">Thekla Hammond\u003c/a>. Details for this show at ODC in San Francisco are\u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12744706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg\" alt=\"Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12744706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.’ \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 26:\u003c/strong> San Jose author \u003ca href=\"http://khaledhosseini.com/\" target=\"_blank\" rel=\"noopener\">Khaled Hosseini\u003c/a>’s \u003cem>A Thousand Splendid Suns \u003c/em>is about a mother/daughter like friendship between two women in Kabul, Afghanistan, and the abuse they endure from a patriarchal society. It’s now a brand new play, adapted for the stage by Irish-Indian playwright Ursula Rani Sarma, a co-commission from the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> (and \u003ca href=\"https://www.theatrecalgary.com/2016-17/a-thousand-splendid-suns\" target=\"_blank\" rel=\"noopener\">Theatre Calgary\u003c/a>). Hosseini\u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-thousand-splendid-suns-20170122-htmlstory.html\" target=\"_blank\" rel=\"noopener\"> told the \u003cem>Los Angeles Times\u003c/em> \u003c/a>he’s hoping the show can be a dramatic reminder of our shared humanity, at a time when the Trump Administration seems to be scapegoating Muslims. Details for the play’s run at ACT in San Francisco are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/a_thousand_splendid_suns.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mArupnjf8rk\u003c/p>\n\u003cp>\u003cstrong>Feb. 16\u003c/strong>: Variety shows and vaudeville are hip again. And Wesley Stace, a.k.a. John Wesley Harding, gets some credit. He’s been touring his ‘Cabinet of Wonders’ literary-variety mashup for a while now, featuring a rotating cast of performers. For this show at San Francisco’s JCC, he’s booked a remarkable troupe, including Joan Baez; screenwriter and novelist Barry Gifford; comedians Caitlin Gill and Bobcat Goldthwait (a team known as the Crabapples in Los Angeles); Ryan Miller from Guster; local hero Thao Nguyen and Langhorne Slim. Details \u003ca href=\"https://www.jccsf.org/arts-ideas/cabinet-of-wonders/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GFgz9aiiZlQ\u003c/p>\n\u003cp>\u003cstrong>Feb. 11 and 12\u003c/strong>: Cherry Glazerr is Clementine Creevy, who’s just put out her second album, \u003cem>Apocalipstick,\u003c/em> at the age of 19 (making us feel soooo old and underachieving). She’s an L.A. girl with the history of women’s punk and grunge in her bones, and I just love when she howls, “I was a lone wolf,” at the top of the song “Told You I’d Be with the Guys.” Cherry Glazerr plays shows at Slim’s in San Francisco, details \u003ca href=\"http://www.slimspresents.com/event/cherry-glazerr-slims-w-slow-hollows/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and at the Catalyst in Santa Cruz, details \u003ca href=\"http://www.catalystclub.com/event/1377312-cherry-glazerr-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "This week, the Do List loves bands Austra and Cherry Glazerr, composers like Lou Harrison, and a new play based on Khaled Hosseini's 'A Thousand Splendid Suns.' Bonus: tap dancing!",
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"title": "Cy and David's Picks: Lou Harrison at 100, Austra's Icy Warm Sound, and Cherry Glazerr's Teen Punk | KQED",
"description": "This week, the Do List loves bands Austra and Cherry Glazerr, composers like Lou Harrison, and a new play based on Khaled Hosseini's 'A Thousand Splendid Suns.' Bonus: tap dancing!",
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"headline": "Cy and David's Picks: Lou Harrison at 100, Austra's Icy Warm Sound, and Cherry Glazerr's Teen Punk",
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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>\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/306964570″&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/306964570″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of the things we brood about here at the Do List (besides global annihilation) is the shortage of music clubs in the South Bay. And then along comes \u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winterfest\u003c/a>, with its conucopia of great shows, and our mood lifts off like a Roy Ayers solo. Yes, Roy Ayers is playing his neo-soul vibes during the fest.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And check out Bay Area native Natalie Cressman’s fine trombone work, veteran San Francisco singer Mary Stallings, and dozens of other shows. Details for San Jose Jazz Winterfest are \u003ca href=\"https://sanjosejazz.org/events/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now onto the rest of our 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/7rzmhbiKUo0'\n title='//www.youtube.com/embed/7rzmhbiKUo0'\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>Feb. 11\u003c/strong>: Austra has such a cool, polished electronic sound, but I still feel a blast of heat off the voice of singer Katie Stelmanis, formerly of Galaxy. She’s the force behind Austra, and wrote ‘Utopia,’ the song above, for her new album \u003cem>Future Politics.\u003c/em> She’s working with Maya Postepski, Dorian Wolf, and Ryan Wonsiak, and they make quite a wall of beautiful sounds. Details for Austra’s show at the Mezzanine in San Francisco are \u003ca href=\"http://mezzaninesf.com/events/austra/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=riupQGCF5a8\u003cbr>\n\u003cstrong>Feb. 11\u003c/strong>: Tap dancing hasn’t been cool in a long time, but I’m partial to this deeply American art form, born out of the same stew of influences that created jazz, and with a similar attention to rhythm, beat and improvisation. Here’s a chance to show tap some love. Rhythmic Circus is a troupe out of Minneapolis with a showoff style and a production called \u003cem>Feet Don’t Fail Me Now \u003c/em>(slightly misquoting \u003ca href=\"https://en.wikipedia.org/wiki/Feets,_Don't_Fail_Me_Now_(disambiguation)\" target=\"_blank\" rel=\"noopener\">Stepin Fetchit’s line\u003c/a>.) Details for their show at the Palo Alto JCC are \u003ca href=\"https://paloaltojcc.org/Events/rhythmic-circus\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12743888\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12743888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg\" alt=\"Lou Harrison \" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-160x122.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-768x587.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1020x780.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1180x902.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-960x734.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-240x183.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-375x287.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-520x398.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lou Harrison \u003ccite>(Photo: Courtesy of San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–18:\u003c/strong> Lou Harrison was the very definition of an American maverick. An early champion of Charles Ives and the challenging twelve-tone compositions of Schoenberg, his own music evolved into a lush and melodic tapestry of influences, including Gamelan from Bali and Indonesia, Native American music and jazz. He was a pacifist and activist against nuclear war, a fan of Esperanto, a calligrapher, and an out gay man at a time when that was still a large risk. Conductor and pianist Dennis Russell Davies calls him a great craftsman. “He could write beautiful twelve-tone dissonant music, he was at home in a Renaissance style,” Davies said. “Lou was not only gifted but also very well educated as a musician and composer. And I miss him very much, he was a good friend, and I’ve never forgotten the lessons I learned.” A number of music organizations (including SF Symphony’s SoundBox, in a \u003ca href=\"http://www.mercurynews.com/2016/12/10/review-brilliant-tribute-to-legendary-lou-harrison-kicks-off-san-francisco-symphony-soundbox-season/\" target=\"_blank\" rel=\"noopener\">magnificent program\u003c/a> last month) have been celebrating Harrison, with Bay Area concerts through June. Here’s the most comprehensive\u003ca href=\"http://otherminds.org/lou100/\" target=\"_blank\" rel=\"noopener\"> list\u003c/a> from the folks at \u003ca href=\"http://otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a>, which is staging what should be an extraordinary Harrison \u003ca href=\"http://om22concertone.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">concert on Feb. 18\u003c/a>, where Davies will conduct.\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/0oUoHtCTs4o'\n title='//www.youtube.com/embed/0oUoHtCTs4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 10–12\u003c/strong>: The other big Lou Harrison event this month is the world premiere of Choreographer Nancy Karp’s \u003cem>Memory/Place\u003c/em> at ODC in San Francisco, featuring Harrison’s \u003cem>Grand Duo for Violin and Piano \u003c/em>(among other pieces). Karp’s ambitious evening-length dance is accompanied live by cellist Gianna Abondolo, pianist Sarah Cahill and violinist Kate Stenberg, with a set design by artist \u003ca href=\"http://www.theklahammond.com/\" target=\"_blank\" rel=\"noopener\">Thekla Hammond\u003c/a>. Details for this show at ODC in San Francisco are\u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12744706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg\" alt=\"Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12744706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.’ \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 26:\u003c/strong> San Jose author \u003ca href=\"http://khaledhosseini.com/\" target=\"_blank\" rel=\"noopener\">Khaled Hosseini\u003c/a>’s \u003cem>A Thousand Splendid Suns \u003c/em>is about a mother/daughter like friendship between two women in Kabul, Afghanistan, and the abuse they endure from a patriarchal society. It’s now a brand new play, adapted for the stage by Irish-Indian playwright Ursula Rani Sarma, a co-commission from the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> (and \u003ca href=\"https://www.theatrecalgary.com/2016-17/a-thousand-splendid-suns\" target=\"_blank\" rel=\"noopener\">Theatre Calgary\u003c/a>). Hosseini\u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-thousand-splendid-suns-20170122-htmlstory.html\" target=\"_blank\" rel=\"noopener\"> told the \u003cem>Los Angeles Times\u003c/em> \u003c/a>he’s hoping the show can be a dramatic reminder of our shared humanity, at a time when the Trump Administration seems to be scapegoating Muslims. Details for the play’s run at ACT in San Francisco are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/a_thousand_splendid_suns.html\" 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/mArupnjf8rk'\n title='//www.youtube.com/embed/mArupnjf8rk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 16\u003c/strong>: Variety shows and vaudeville are hip again. And Wesley Stace, a.k.a. John Wesley Harding, gets some credit. He’s been touring his ‘Cabinet of Wonders’ literary-variety mashup for a while now, featuring a rotating cast of performers. For this show at San Francisco’s JCC, he’s booked a remarkable troupe, including Joan Baez; screenwriter and novelist Barry Gifford; comedians Caitlin Gill and Bobcat Goldthwait (a team known as the Crabapples in Los Angeles); Ryan Miller from Guster; local hero Thao Nguyen and Langhorne Slim. Details \u003ca href=\"https://www.jccsf.org/arts-ideas/cabinet-of-wonders/\" 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/GFgz9aiiZlQ'\n title='//www.youtube.com/embed/GFgz9aiiZlQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 11 and 12\u003c/strong>: Cherry Glazerr is Clementine Creevy, who’s just put out her second album, \u003cem>Apocalipstick,\u003c/em> at the age of 19 (making us feel soooo old and underachieving). She’s an L.A. girl with the history of women’s punk and grunge in her bones, and I just love when she howls, “I was a lone wolf,” at the top of the song “Told You I’d Be with the Guys.” Cherry Glazerr plays shows at Slim’s in San Francisco, details \u003ca href=\"http://www.slimspresents.com/event/cherry-glazerr-slims-w-slow-hollows/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and at the Catalyst in Santa Cruz, details \u003ca href=\"http://www.catalystclub.com/event/1377312-cherry-glazerr-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hey Bay Area! What's with all the Contemporary Opera in February?",
"headTitle": "Hey Bay Area! What’s with all the Contemporary Opera in February? | KQED",
"content": "\u003cp>There are so many contemporary operas happening in the Bay Area in February, it looks like we might have an all-out regional festival on our hands.\u003c/p>\n\u003cp>While this operatic flowering is more or less a happy coincidence, the fact that the San Francisco Opera (SF Opera) isn’t in season right now means that smaller companies can attract singers, directors, and musicians to work on innovative repertoire in more intimate spaces.\u003c/p>\n\u003cp>Here is the lowdown on a few upcoming productions.\u003c/p>\n\u003cfigure id=\"attachment_12704572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg\" alt=\"Nikki Einfeld as the Controller in Opera Parallele's 2017 production of ‘Flight’.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Einfeld as the Controller in Opera Parallele’s 2017 production of ‘Flight.’ \u003ccite>(Photo: Steve DiBartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–12: \u003ca href=\"https://operaparallele.org/flight/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle presents \u003cem>Flight\u003c/em> \u003c/a>at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>British composer \u003ca href=\"http://www.jonathandove.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Dove\u003c/a>’s timely 1998 work tells the true story of Iranian refugee Mehran Karimi Nasseri who lived at Charles de Gaulle airport for almost 18 years. Nasseri was unable to exit the French airport because he lacked documentation — and, being a stateless person, he had no country of origin to return to, either.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opera Parallèle’s take on Dove’s darkly comic opera stars up-and-coming American countertenor Tai Oney, who goes on to sing in Berlin and Aix-en-Provence later this year. Oney shares the stage in this production with a slew of talented, former SF Opera apprentice singers such as Nikki Einfeld and Eugene Brancoveanu, as well as many local opera professionals such as Catherine Cook and Philip Skinner.\u003c/p>\n\u003cp>“When we first programmed \u003cem>Flight\u003c/em> for this season, we knew the topic of international refugees was important,” says Opera Parallèle’s artistic director, founder and conductor Nicole Paiement. “But we had no idea how sharp the political focus on immigration would become.”\u003c/p>\n\u003cfigure id=\"attachment_12704573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704573 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg\" alt=\"Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose's ‘Silent Night’.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989.jpg 1930w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose’s ‘Silent Night.’ \u003ccite>(Photo: Chris Ayers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 11–26: \u003ca href=\"https://www.operasj.org/production/silent-night/\" target=\"_blank\" rel=\"noopener\">Opera San José presents \u003cem>Silent Night\u003c/em>\u003c/a> at the California Theatre, San Jose\u003c/strong>\u003c/p>\n\u003cp>Also dealing with real-life events, is \u003ca href=\"http://www.kevinputs.com/\" target=\"_blank\" rel=\"noopener\">Kevin Puts\u003c/a>’ Pulitzer Prize-winning opera concerns the World War I Christmas truce between Scottish, French and German soldiers. Depicting the horrors of war, the piece has been wildly successful, taken up by nearly a dozen opera companies since the 2011 premiere at Minnesota Opera.\u003c/p>\n\u003cp>Opera San José presents the west coast premiere of \u003cem>Silent Night\u003c/em> in a new production designed by Steven Kemp, a finalist at this year’s World Stage Design in Taipei for his work on a production of \u003cem>Falstaff\u003c/em>. The cast includes soprano Julie Adams, a San Francisco Conservatory of Music alum who won the prestigious Met auditions and just finished a two-year stint as an apprentice at SF Opera.\u003c/p>\n\u003cfigure id=\"attachment_12704570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg\" alt=\"Looming video projections in Ted Hearne's ‘The Source’.\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1020x548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-960x516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-520x280.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looming video projections in Ted Hearne’s ‘The Source.’ \u003ccite>(Photo: Noah Stern Weber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24–Mar. 3: \u003ca href=\"http://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab presents \u003cem>The Source\u003c/em>\u003c/a> at the Taube Atrium Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>The 30-something, Los Angeles-based composer Ted Hearne’s body of work is overtly political, covering such topics as Hurricane Katrina and Edward Said. SF Opera Lab, the experimental arm of SF Opera, opens its second season with Hearne’s oratorio about Chelsea Manning and Wikileaks. The piece made a huge splash at the Brooklyn Academy of Music in 2014 and at Los Angeles Opera last year.\u003c/p>\n\u003cp>The 75-minute, 12-movement piece for four singers and seven instrumentalists sets Manning’s own words and other primary source documents to music. Video projections from director Jim Findlay and designer Daniel Fish loom on four screens around the audience. Hearne incorporates many different modalities in this abstract work, using real-time voice processing and evoking the Bach \u003cem>Passions\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12704569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg\" alt=\"Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O'Brien, part of Snapshot Program 1.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O’Brien, part of Snapshot Program 1. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 25–26: \u003ca href=\"http://www.westedgeopera.org/program-two/\" target=\"_blank\" rel=\"noopener\">West Edge Opera presents \u003cem>Snapshot\u003c/em> \u003cem>Program 2\u003c/em>\u003c/a> at the David Brower Center, Berkeley (Feb. 25) and the Bayview Opera House, San Francisco (Feb. 26)\u003c/strong>\u003c/p>\n\u003cp>Building on its impressive festival season at Oakland’s abandoned train station last summer, West Edge Opera just launched \u003cem>Snapshot — \u003c/em>a new program highlighting the work of contemporary Northern Californian composers. The series features excerpts from as-yet-to-be-produced works by composers like Carla Lucero and Linda Bouchard, brought to life by half a dozen solo vocalists and the musicians of the Earplay new music ensemble.\u003c/p>\n\u003cp>The February program includes a work about Helen Keller, an operatic version of E. M. Foster’s novel \u003cem>Howard’s End\u003c/em>, a piece that sets text from Uruguayan writer Eduardo Galeano, and a comedic parody of Tennessee Williams’ \u003cem>A Streetcar Named Desire\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The program provides an opportunity to observe operas at the “workshop” stage of the production process. It also includes performances by local talent such as soprano Amy Foote (seen in the title role of West Edge’s \u003cem>The Cunning Little Vixen\u003c/em> last season) and baritone Daniel Cilli (who had his SF Opera premiere in \u003cem>Carmen\u003c/em> last year, but has appeared at every regional house around here) in a cozy setting.\u003c/p>\n\n",
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"excerpt": "From West Edge Opera in Berkeley to Opera San José to San Francisco performances from Opera Parallèle, the Bay Area is aflame with vocal pyrotechnics this month.",
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"description": "From West Edge Opera in Berkeley to Opera San José to San Francisco performances from Opera Parallèle, the Bay Area is aflame with vocal pyrotechnics this month.",
"title": "Hey Bay Area! What's with all the Contemporary Opera in February? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many contemporary operas happening in the Bay Area in February, it looks like we might have an all-out regional festival on our hands.\u003c/p>\n\u003cp>While this operatic flowering is more or less a happy coincidence, the fact that the San Francisco Opera (SF Opera) isn’t in season right now means that smaller companies can attract singers, directors, and musicians to work on innovative repertoire in more intimate spaces.\u003c/p>\n\u003cp>Here is the lowdown on a few upcoming productions.\u003c/p>\n\u003cfigure id=\"attachment_12704572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg\" alt=\"Nikki Einfeld as the Controller in Opera Parallele's 2017 production of ‘Flight’.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Einfeld as the Controller in Opera Parallele’s 2017 production of ‘Flight.’ \u003ccite>(Photo: Steve DiBartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–12: \u003ca href=\"https://operaparallele.org/flight/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle presents \u003cem>Flight\u003c/em> \u003c/a>at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>British composer \u003ca href=\"http://www.jonathandove.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Dove\u003c/a>’s timely 1998 work tells the true story of Iranian refugee Mehran Karimi Nasseri who lived at Charles de Gaulle airport for almost 18 years. Nasseri was unable to exit the French airport because he lacked documentation — and, being a stateless person, he had no country of origin to return to, either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opera Parallèle’s take on Dove’s darkly comic opera stars up-and-coming American countertenor Tai Oney, who goes on to sing in Berlin and Aix-en-Provence later this year. Oney shares the stage in this production with a slew of talented, former SF Opera apprentice singers such as Nikki Einfeld and Eugene Brancoveanu, as well as many local opera professionals such as Catherine Cook and Philip Skinner.\u003c/p>\n\u003cp>“When we first programmed \u003cem>Flight\u003c/em> for this season, we knew the topic of international refugees was important,” says Opera Parallèle’s artistic director, founder and conductor Nicole Paiement. “But we had no idea how sharp the political focus on immigration would become.”\u003c/p>\n\u003cfigure id=\"attachment_12704573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704573 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg\" alt=\"Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose's ‘Silent Night’.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989.jpg 1930w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose’s ‘Silent Night.’ \u003ccite>(Photo: Chris Ayers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 11–26: \u003ca href=\"https://www.operasj.org/production/silent-night/\" target=\"_blank\" rel=\"noopener\">Opera San José presents \u003cem>Silent Night\u003c/em>\u003c/a> at the California Theatre, San Jose\u003c/strong>\u003c/p>\n\u003cp>Also dealing with real-life events, is \u003ca href=\"http://www.kevinputs.com/\" target=\"_blank\" rel=\"noopener\">Kevin Puts\u003c/a>’ Pulitzer Prize-winning opera concerns the World War I Christmas truce between Scottish, French and German soldiers. Depicting the horrors of war, the piece has been wildly successful, taken up by nearly a dozen opera companies since the 2011 premiere at Minnesota Opera.\u003c/p>\n\u003cp>Opera San José presents the west coast premiere of \u003cem>Silent Night\u003c/em> in a new production designed by Steven Kemp, a finalist at this year’s World Stage Design in Taipei for his work on a production of \u003cem>Falstaff\u003c/em>. The cast includes soprano Julie Adams, a San Francisco Conservatory of Music alum who won the prestigious Met auditions and just finished a two-year stint as an apprentice at SF Opera.\u003c/p>\n\u003cfigure id=\"attachment_12704570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg\" alt=\"Looming video projections in Ted Hearne's ‘The Source’.\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1020x548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-960x516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-520x280.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looming video projections in Ted Hearne’s ‘The Source.’ \u003ccite>(Photo: Noah Stern Weber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24–Mar. 3: \u003ca href=\"http://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab presents \u003cem>The Source\u003c/em>\u003c/a> at the Taube Atrium Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>The 30-something, Los Angeles-based composer Ted Hearne’s body of work is overtly political, covering such topics as Hurricane Katrina and Edward Said. SF Opera Lab, the experimental arm of SF Opera, opens its second season with Hearne’s oratorio about Chelsea Manning and Wikileaks. The piece made a huge splash at the Brooklyn Academy of Music in 2014 and at Los Angeles Opera last year.\u003c/p>\n\u003cp>The 75-minute, 12-movement piece for four singers and seven instrumentalists sets Manning’s own words and other primary source documents to music. Video projections from director Jim Findlay and designer Daniel Fish loom on four screens around the audience. Hearne incorporates many different modalities in this abstract work, using real-time voice processing and evoking the Bach \u003cem>Passions\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12704569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg\" alt=\"Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O'Brien, part of Snapshot Program 1.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O’Brien, part of Snapshot Program 1. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 25–26: \u003ca href=\"http://www.westedgeopera.org/program-two/\" target=\"_blank\" rel=\"noopener\">West Edge Opera presents \u003cem>Snapshot\u003c/em> \u003cem>Program 2\u003c/em>\u003c/a> at the David Brower Center, Berkeley (Feb. 25) and the Bayview Opera House, San Francisco (Feb. 26)\u003c/strong>\u003c/p>\n\u003cp>Building on its impressive festival season at Oakland’s abandoned train station last summer, West Edge Opera just launched \u003cem>Snapshot — \u003c/em>a new program highlighting the work of contemporary Northern Californian composers. The series features excerpts from as-yet-to-be-produced works by composers like Carla Lucero and Linda Bouchard, brought to life by half a dozen solo vocalists and the musicians of the Earplay new music ensemble.\u003c/p>\n\u003cp>The February program includes a work about Helen Keller, an operatic version of E. M. Foster’s novel \u003cem>Howard’s End\u003c/em>, a piece that sets text from Uruguayan writer Eduardo Galeano, and a comedic parody of Tennessee Williams’ \u003cem>A Streetcar Named Desire\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The program provides an opportunity to observe operas at the “workshop” stage of the production process. It also includes performances by local talent such as soprano Amy Foote (seen in the title role of West Edge’s \u003cem>The Cunning Little Vixen\u003c/em> last season) and baritone Daniel Cilli (who had his SF Opera premiere in \u003cem>Carmen\u003c/em> last year, but has appeared at every regional house around here) in a cozy setting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Fun Home' Musical Puts Alison Bechdel's Coming Out Story on Stage",
"headTitle": "‘Fun Home’ Musical Puts Alison Bechdel’s Coming Out Story on Stage | KQED",
"content": "\u003cp>After the actors had all taken their bows to thunderous applause at the San Francisco premiere of Jeanine Tesori and Lisa Kron’s musical \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a>, Carole Shorenstein Hays — the flamboyant theater producer and owner of the newly refurbished Curran Theater — handed a microphone to Alison Bechdel and essentially demanded that she speak.\u003c/p>\n\u003cp>Bechdel, whose 2006 autobiographical graphic novel of the same title was the basis for the evening’s entertainment, spoke graciously and with great poise both about the production and our country’s current political situation. She was brief and made no grand statements. Yet there was something about the way the 56-year old graphic novelist carried herself that was so vivid and human, it threw into relief many of the problems and tensions within Tesori and Kron’s lovely but flawed attempt to give theatrical life to Bechdel’s actual life. It rarely happens, but the real thing shone brighter than the entertainment.\u003c/p>\n\u003cp>\u003cem>Fun Home\u003c/em> is an ambitiously structured drama, taking on the stories of three versions of “Alison” all at once: the child who intuits her father Bruce’s sexual preferences and finds secret solace with him; the young adult desperately in need of her family to recognize that she has, in coming out, become a fuller, slightly different version of herself; and the mature graphic novelist struggling to give shape to her father’s sudden suicide at 44.\u003c/p>\n\u003cp>Memory plays are a notoriously difficult genre, and \u003cem>Fun Home\u003c/em> loses shape and focus every time the adult Alison takes the lead. There’s just not much for her to do except comment on the action. Worse, this unbalances and undercuts the force of the other two narratives, sometimes in trite ways.\u003c/p>\n\u003cfigure id=\"attachment_12703978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg\" alt=\"Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-520x296.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a wrenching moment in which Bruce desperately tries to impress a member of the Allegheny Historical Society with the restoration of his Victorian house and the picture-book perfection of his family, the adult Alison says, “And he was gay. And I was gay. And he killed himself. And I… became a lesbian cartoonist.” The narratorial distance might work as a caption in a graphic novel. But on stage it comes off as a diminishment of actual pain. It turns suicide into a snappy one-liner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This tension between commentary and drama is not just a problem of the narration, but also present between Tesori’s music and Kron’s book. Kron is a fascinating writer, capable of taking unpromising dramatic ideas and weaving them into powerful, if lopsided, plays. (Her satisfying \u003cem>In the Wake\u003c/em> premiered at the Berkeley Repertory Theatre in 2010). Yet Tesori’s songs are often an incomplete realization of the complexity of Kron’s tougher, sharper artistic instincts.\u003c/p>\n\u003cp>There’s a brutal scene in which Bruce seduces his children’s babysitter and family handyman, Roy, while Alison’s mother Helen plays the piano in the next room. When Roy hesitates, Bruce snaps, “Don’t worry about her.” It’s a cutting line and a slick setup. Tesori’s music (“Helen’s Étude”) starts off in a promising manner, as Bruce and Helen sing in counterpoint. But at a little more than a minute and with the intrusion of Roy’s rather pedestrian observations and voice (“I know this type, this type of married guy”) the song is more of an explanation than a deepening of what has become a savage familial situation.\u003c/p>\n\u003cfigure id=\"attachment_12703976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg\" alt=\"Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that this is beyond Tesori’s abilities. The lovely post-coital ode “Changing My Major” takes a beautiful stage image — Alison admiring her first girlfriend Joan’s sleeping body — and lets us revel in her sexual awakening and the joy and love that it inspires. As with the best of musical theater, you want to stay in the moment and song forever.\u003c/p>\n\u003cp>Yet most of best scenes occur when the piece is less of a musical, and more of a play with bits and pieces of music woven though it — a trip to New York where Bruce sings Alison to sleep and then slips away to hunt for anonymous sex; an impromptu father-daughter concert of goofy songs during a visit home; and a car ride where Bruce offers to take Alison to a bar where “folks like, you know…” but can’t finish his thought when she reminds him that she’s not 21. Instead of show-stopping numbers that often feel like expressions of strength, here the music catches just how fragile family ties can be.\u003c/p>\n\u003cfigure id=\"attachment_12703974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg\" alt=\"Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fun Home\u003c/em> has become a beloved piece — it won five Tony Awards — and when it succeeds you can understand why. We have so much to lose when parents die, when the mirror of family is wrested away and there is no one left to reflect the future for us. There are, sadly, some echoes in the work of the present political moment. On opening night in San Francisco, you could feel the audience embrace them: what does it mean to lose a world, even if it was an imperfect one?\u003c/p>\n\u003cp>That’s all to the good. But I think the piece misplays its strengths. Tesori’s music is tidy where it should be a fiery mess, and the traces of Broadway conventions (a reliance on pop pastiche and crowd-pleasing numbers) mute Kron’s shifty writing. And that brings us back to Bechdel. Drafted to speak at a moment of high drama, she was simply present, which is a gift that \u003cem>Fun Home\u003c/em> the musical only intermittently rises to and achieves. Still, sometimes the imperfect is more than enough.\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 floatright]\u003c/p>\n\u003cp>\u003cem>‘Fun Home’ runs through Sunday, Feb. 19 at the Curran Theater in San Francisco. For tickets and information, \u003ca href=\"https://sfcurran.com/shows/fun-home/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Tony Award-winning musical based on the famed graphic novelist's 2006 memoir opens at the newly-renovated Curran Theater in a heated political climate, but doesn't quite rise to the occasion.",
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"description": "The Tony Award-winning musical based on the famed graphic novelist's 2006 memoir opens at the newly-renovated Curran Theater in a heated political climate, but doesn't quite rise to the occasion.",
"title": "'Fun Home' Musical Puts Alison Bechdel's Coming Out Story on Stage | KQED",
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"headline": "'Fun Home' Musical Puts Alison Bechdel's Coming Out Story on Stage",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After the actors had all taken their bows to thunderous applause at the San Francisco premiere of Jeanine Tesori and Lisa Kron’s musical \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a>, Carole Shorenstein Hays — the flamboyant theater producer and owner of the newly refurbished Curran Theater — handed a microphone to Alison Bechdel and essentially demanded that she speak.\u003c/p>\n\u003cp>Bechdel, whose 2006 autobiographical graphic novel of the same title was the basis for the evening’s entertainment, spoke graciously and with great poise both about the production and our country’s current political situation. She was brief and made no grand statements. Yet there was something about the way the 56-year old graphic novelist carried herself that was so vivid and human, it threw into relief many of the problems and tensions within Tesori and Kron’s lovely but flawed attempt to give theatrical life to Bechdel’s actual life. It rarely happens, but the real thing shone brighter than the entertainment.\u003c/p>\n\u003cp>\u003cem>Fun Home\u003c/em> is an ambitiously structured drama, taking on the stories of three versions of “Alison” all at once: the child who intuits her father Bruce’s sexual preferences and finds secret solace with him; the young adult desperately in need of her family to recognize that she has, in coming out, become a fuller, slightly different version of herself; and the mature graphic novelist struggling to give shape to her father’s sudden suicide at 44.\u003c/p>\n\u003cp>Memory plays are a notoriously difficult genre, and \u003cem>Fun Home\u003c/em> loses shape and focus every time the adult Alison takes the lead. There’s just not much for her to do except comment on the action. Worse, this unbalances and undercuts the force of the other two narratives, sometimes in trite ways.\u003c/p>\n\u003cfigure id=\"attachment_12703978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg\" alt=\"Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-520x296.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a wrenching moment in which Bruce desperately tries to impress a member of the Allegheny Historical Society with the restoration of his Victorian house and the picture-book perfection of his family, the adult Alison says, “And he was gay. And I was gay. And he killed himself. And I… became a lesbian cartoonist.” The narratorial distance might work as a caption in a graphic novel. But on stage it comes off as a diminishment of actual pain. It turns suicide into a snappy one-liner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This tension between commentary and drama is not just a problem of the narration, but also present between Tesori’s music and Kron’s book. Kron is a fascinating writer, capable of taking unpromising dramatic ideas and weaving them into powerful, if lopsided, plays. (Her satisfying \u003cem>In the Wake\u003c/em> premiered at the Berkeley Repertory Theatre in 2010). Yet Tesori’s songs are often an incomplete realization of the complexity of Kron’s tougher, sharper artistic instincts.\u003c/p>\n\u003cp>There’s a brutal scene in which Bruce seduces his children’s babysitter and family handyman, Roy, while Alison’s mother Helen plays the piano in the next room. When Roy hesitates, Bruce snaps, “Don’t worry about her.” It’s a cutting line and a slick setup. Tesori’s music (“Helen’s Étude”) starts off in a promising manner, as Bruce and Helen sing in counterpoint. But at a little more than a minute and with the intrusion of Roy’s rather pedestrian observations and voice (“I know this type, this type of married guy”) the song is more of an explanation than a deepening of what has become a savage familial situation.\u003c/p>\n\u003cfigure id=\"attachment_12703976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg\" alt=\"Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that this is beyond Tesori’s abilities. The lovely post-coital ode “Changing My Major” takes a beautiful stage image — Alison admiring her first girlfriend Joan’s sleeping body — and lets us revel in her sexual awakening and the joy and love that it inspires. As with the best of musical theater, you want to stay in the moment and song forever.\u003c/p>\n\u003cp>Yet most of best scenes occur when the piece is less of a musical, and more of a play with bits and pieces of music woven though it — a trip to New York where Bruce sings Alison to sleep and then slips away to hunt for anonymous sex; an impromptu father-daughter concert of goofy songs during a visit home; and a car ride where Bruce offers to take Alison to a bar where “folks like, you know…” but can’t finish his thought when she reminds him that she’s not 21. Instead of show-stopping numbers that often feel like expressions of strength, here the music catches just how fragile family ties can be.\u003c/p>\n\u003cfigure id=\"attachment_12703974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg\" alt=\"Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fun Home\u003c/em> has become a beloved piece — it won five Tony Awards — and when it succeeds you can understand why. We have so much to lose when parents die, when the mirror of family is wrested away and there is no one left to reflect the future for us. There are, sadly, some echoes in the work of the present political moment. On opening night in San Francisco, you could feel the audience embrace them: what does it mean to lose a world, even if it was an imperfect one?\u003c/p>\n\u003cp>That’s all to the good. But I think the piece misplays its strengths. Tesori’s music is tidy where it should be a fiery mess, and the traces of Broadway conventions (a reliance on pop pastiche and crowd-pleasing numbers) mute Kron’s shifty writing. And that brings us back to Bechdel. Drafted to speak at a moment of high drama, she was simply present, which is a gift that \u003cem>Fun Home\u003c/em> the musical only intermittently rises to and achieves. Still, sometimes the imperfect is more than enough.\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>‘Fun Home’ runs through Sunday, Feb. 19 at the Curran Theater in San Francisco. For tickets and information, \u003ca href=\"https://sfcurran.com/shows/fun-home/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Play About 'Roe V. Wade' Is A Prism For Looking At The American Divide",
"headTitle": "New Play About ‘Roe V. Wade’ Is A Prism For Looking At The American Divide | KQED",
"content": "\u003cp>When the Oregon Shakespeare Festival asked playwright Lisa Loomer if she’d be interested in writing a play about \u003cem>Roe v. Wade,\u003c/em> she was understandably skeptical. The 1973 Supreme Court decision, which legalized a woman’s right to an abortion, marked a historic moment, but more than 40 years later the issue is far from settled.\u003c/p>\n\u003cp>Loomer says she wasn’t sure \u003cem>Roe v. Wade\u003c/em> would make good theater, so she started reading about key players on both sides of the issue. She says, “That, for me, was the story of the divide in American culture. I thought [\u003cem>Roe v. Wade\u003c/em>] was a great prism for looking at that divide.”\u003c/p>\n\u003cp>But Loomer knew her play needed to be even-handed. She says, “I wanted people to feel, as they watched the play, that their point of view was represented, if nothing else because that helps people be more open and willing to hear another point of view.”\u003c/p>\n\u003cp>The result, \u003cem>Roe\u003c/em>, is currently playing at Arena Stage in Washington, D.C. It opens by introducing its two main characters: Norma McCorvey, aka “Jane Roe,” the plaintiff in \u003cem>Roe v. Wade\u003c/em>, and Sarah Weddington, the lawyer who argued the Roe side of the case. McCorvey was a hard-living, hippie-ish 22-year-old who, in 1969, found herself poor and pregnant for a third time. The play shows her pleading with her doctor to give her an abortion. She tells him she tried to get it done illegally, but the place she went to “looked like a ghost town, like somebody’d moved out of there real fast. There was blood all over the floors, roaches, sheets like filthy rags.”\u003c/p>\n\u003cp>Her doctor’s response: “Maybe you should have thought about consequences before you got pregnant for a third time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weddington was also in her 20s, but she was a very different person. The daughter of a Methodist minister was one of only 40 women at her Texas law school of 1,600 students. As it happened, she already knew a lot about abortion: She’d had one in Mexico, something she didn’t reveal until years later.\u003c/p>\n\u003cp>In 1970, Weddington and another young female attorney filed a suit in Texas that challenged the state law on behalf of all Texas women seeking an abortion. The Supreme Court heard the case in 1971, and the play puts the audience in the middle of the action. In \u003cem>Roe\u003c/em>, the lawyers make their arguments facing the audience, and audio of the real justices’ responses (acquired from Cornell University’s Legal Information Institute) plays from the back of the theater. Loomer says, “I thought it would be more dramatic than actors onstage, and more daunting for Sarah [Weddington] to face the voices of the real judges.”\u003c/p>\n\u003cp>The case was reargued in 1972, and the Supreme Court didn’t rule in favor of Roe until 1973 — far too late for McCorvey to get an abortion. But the play doesn’t stop there — it goes on to explore the personal and public battles that ensued. Weddington joined the Texas House of Representatives and continued to speak out for a woman’s right to choose; McCorvey worked in abortion clinics, but then reversed her position on the issue and became involved in the anti-abortion rights organization Operation Rescue.\u003c/p>\n\u003cp>In one scene, an Operation Rescue activist named Ronda tries to talk a woman out of getting an abortion. She explains that when she got pregnant with her daughter, her fiancé wanted her to abort. She says, “I was in my doctor’s office and I happened to see a picture in one of those pamphlets they give you. I saw the precious little hands and feet. And no, I may not be a scientist or a medical person, but I have eyes just like you do, and no one, no one could tell me that this was a fetus and not a human being.”\u003c/p>\n\u003cp>Loomer’s play is full of nuance and complexity. When one character’s account doesn’t line up with another’s, the characters break the fourth wall to explain the discrepancy. No one is portrayed as flawless or a hero; everyone is human. And that’s what theater is for, Loomer says. “I think of the theater as a place where we come together, sit together in the dark, to contemplate an issue from a very, very human point of view.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Roe\u003c/em> may be a history play (it’s part of the Oregon Shakespeare Festival’s groundbreaking series \u003ca href=\"https://www.osfashland.org/experience-osf/upcoming/american-revolutions.aspx\">American Revolutions: The United States History Cycle\u003c/a>) but, according to Loomer, so much of what happens in it is still happening right now.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Play+About+%27Roe+V.+Wade%27+Is+A+Prism+For+Looking+At+The+American+Divide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Roe\u003c/em> tells the stories of \"Jane Roe\" and the lawyer who argued her side of the case. Playwright Lisa Loomer says it may be a history play, but so much of what happens in it still happens today.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Oregon Shakespeare Festival asked playwright Lisa Loomer if she’d be interested in writing a play about \u003cem>Roe v. Wade,\u003c/em> she was understandably skeptical. The 1973 Supreme Court decision, which legalized a woman’s right to an abortion, marked a historic moment, but more than 40 years later the issue is far from settled.\u003c/p>\n\u003cp>Loomer says she wasn’t sure \u003cem>Roe v. Wade\u003c/em> would make good theater, so she started reading about key players on both sides of the issue. She says, “That, for me, was the story of the divide in American culture. I thought [\u003cem>Roe v. Wade\u003c/em>] was a great prism for looking at that divide.”\u003c/p>\n\u003cp>But Loomer knew her play needed to be even-handed. She says, “I wanted people to feel, as they watched the play, that their point of view was represented, if nothing else because that helps people be more open and willing to hear another point of view.”\u003c/p>\n\u003cp>The result, \u003cem>Roe\u003c/em>, is currently playing at Arena Stage in Washington, D.C. It opens by introducing its two main characters: Norma McCorvey, aka “Jane Roe,” the plaintiff in \u003cem>Roe v. Wade\u003c/em>, and Sarah Weddington, the lawyer who argued the Roe side of the case. McCorvey was a hard-living, hippie-ish 22-year-old who, in 1969, found herself poor and pregnant for a third time. The play shows her pleading with her doctor to give her an abortion. She tells him she tried to get it done illegally, but the place she went to “looked like a ghost town, like somebody’d moved out of there real fast. There was blood all over the floors, roaches, sheets like filthy rags.”\u003c/p>\n\u003cp>Her doctor’s response: “Maybe you should have thought about consequences before you got pregnant for a third time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weddington was also in her 20s, but she was a very different person. The daughter of a Methodist minister was one of only 40 women at her Texas law school of 1,600 students. As it happened, she already knew a lot about abortion: She’d had one in Mexico, something she didn’t reveal until years later.\u003c/p>\n\u003cp>In 1970, Weddington and another young female attorney filed a suit in Texas that challenged the state law on behalf of all Texas women seeking an abortion. The Supreme Court heard the case in 1971, and the play puts the audience in the middle of the action. In \u003cem>Roe\u003c/em>, the lawyers make their arguments facing the audience, and audio of the real justices’ responses (acquired from Cornell University’s Legal Information Institute) plays from the back of the theater. Loomer says, “I thought it would be more dramatic than actors onstage, and more daunting for Sarah [Weddington] to face the voices of the real judges.”\u003c/p>\n\u003cp>The case was reargued in 1972, and the Supreme Court didn’t rule in favor of Roe until 1973 — far too late for McCorvey to get an abortion. But the play doesn’t stop there — it goes on to explore the personal and public battles that ensued. Weddington joined the Texas House of Representatives and continued to speak out for a woman’s right to choose; McCorvey worked in abortion clinics, but then reversed her position on the issue and became involved in the anti-abortion rights organization Operation Rescue.\u003c/p>\n\u003cp>In one scene, an Operation Rescue activist named Ronda tries to talk a woman out of getting an abortion. She explains that when she got pregnant with her daughter, her fiancé wanted her to abort. She says, “I was in my doctor’s office and I happened to see a picture in one of those pamphlets they give you. I saw the precious little hands and feet. And no, I may not be a scientist or a medical person, but I have eyes just like you do, and no one, no one could tell me that this was a fetus and not a human being.”\u003c/p>\n\u003cp>Loomer’s play is full of nuance and complexity. When one character’s account doesn’t line up with another’s, the characters break the fourth wall to explain the discrepancy. No one is portrayed as flawless or a hero; everyone is human. And that’s what theater is for, Loomer says. “I think of the theater as a place where we come together, sit together in the dark, to contemplate an issue from a very, very human point of view.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Roe\u003c/em> may be a history play (it’s part of the Oregon Shakespeare Festival’s groundbreaking series \u003ca href=\"https://www.osfashland.org/experience-osf/upcoming/american-revolutions.aspx\">American Revolutions: The United States History Cycle\u003c/a>) but, according to Loomer, so much of what happens in it is still happening right now.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Play+About+%27Roe+V.+Wade%27+Is+A+Prism+For+Looking+At+The+American+Divide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tony Taccone, the longtime artistic director of \u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>, announced Tuesday that he will step down from his post at the end of the 2018-2019 season. The theater is one of the Bay Area’s two largest repertory theaters, along with San Francisco’s \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> (ACT).\u003c/p>\n\u003cp>Under Taccone’s leadership, the company added a new 600-seat auditorium, launched a theater school for adults and teens as well as a play development program, upgraded its old theater, and sent a string of shows to New York and London.\u003c/p>\n\u003cp>Taccone will be 67 when he steps down from his post. He’ll have spent 22 years running the company, and 11 years as the assistant artistic director. Before that, he was co-artistic director for the Eureka Theater company, where he helped develop \u003cem>Angels in America\u003c/em> by Tony Kushner.\u003c/p>\n\u003cp>“It’s been an incredible ride,” Taccone says. “It’s one of the best jobs in the United States, but I have to change a channel in my head. And it’s also time for somebody younger to come in and make some hay.”\u003c/p>\n\u003cp>Taccone says he wants to get back to “just being an artist,” directing and writing plays. This past fall, he co-adapted Sinclair Lewis’ novel \u003ca href=\"https://www.berkeleyrep.org/season/1617/10650.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>It Can’t Happen Here\u003c/em>, \u003c/a>a timely play about a presidential candidate who wins office by promising to make America great again.\u003c/p>\n\u003cfigure id=\"attachment_12192305\" class=\"wp-caption alignright\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12192305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-2-e1476247515682.jpg\" alt=\"Buzz Windrip (David Kelly) threatens the American Republic with a sleazy charisma in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-2-e1476247515682.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-2-e1476247515682-400x225.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Buzz Windrip (David Kelly) threatens the American Republic with a sleazy charisma in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the leadership of Taccone and managing director Susie Medak, Berkeley Rep sent 23 shows to New York, including Carrie Fisher’s \u003cem>Wishful Drinking\u003c/em>, which Taccone directed, and Green Day’s \u003cem>American Idiot\u003c/em>. Other shows developed in Berkeley moved on to London and Hong Kong. Under Taccone, Berkeley Rep also became the West Coast home for innovative productions by Chicago’s Mary Zimmerman; Cornwall, England’s Knee High Theatre; and new work by Oakland’s Marcus Gardley, Julia Cho, and \u003cem>Angels in America\u003c/em> playwright Tony Kushner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s very rare that a person’s individual ambitions can be matched by an organization’s,” Taccone says. He named Berkeley Rep’s Ground Floor play development program as one of his proudest achievements. “Ground Floor is a safe home for artists who want to take risks,” Taccone says.\u003c/p>\n\u003cp>“It’s been an amazing tenure,” said Bay Area News Group theater critic Karen D’Souza. “Tony Taccone has really transformed Berkeley Rep from a local success to a national powerhouse, producing both classical plays and new work.”\u003c/p>\n\u003cp>Theater Bay Area Executive Director Brad Erickson echoes that assessment, praising Taccone’s speed at getting \u003cem>It Can’t Happen Here \u003c/em>ready so that audiences could reflect on on a story about the fascist takeover of the country in time for the presidential campaign.\u003c/p>\n\u003cp>“He had the courage to develop that show when it often takes years to put a production together,” Erickson says. “Sometimes we have to speak to the moment as well as the ages.”\u003c/p>\n\u003cp>Taccone credited the company’s success, during his tenure, to Berkeley Rep’s board and staff, as well as the city of Berkeley. “There’s a spirit of openness here, a willingness to be open to imaginative constructs people might not have experienced before,” Taccone says. “You don’t get that in a lot of places.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Medak says the company is not yet ready to discuss its plans for hiring Taccone’s successor.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony Taccone, the longtime artistic director of \u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>, announced Tuesday that he will step down from his post at the end of the 2018-2019 season. The theater is one of the Bay Area’s two largest repertory theaters, along with San Francisco’s \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> (ACT).\u003c/p>\n\u003cp>Under Taccone’s leadership, the company added a new 600-seat auditorium, launched a theater school for adults and teens as well as a play development program, upgraded its old theater, and sent a string of shows to New York and London.\u003c/p>\n\u003cp>Taccone will be 67 when he steps down from his post. He’ll have spent 22 years running the company, and 11 years as the assistant artistic director. Before that, he was co-artistic director for the Eureka Theater company, where he helped develop \u003cem>Angels in America\u003c/em> by Tony Kushner.\u003c/p>\n\u003cp>“It’s been an incredible ride,” Taccone says. “It’s one of the best jobs in the United States, but I have to change a channel in my head. And it’s also time for somebody younger to come in and make some hay.”\u003c/p>\n\u003cp>Taccone says he wants to get back to “just being an artist,” directing and writing plays. This past fall, he co-adapted Sinclair Lewis’ novel \u003ca href=\"https://www.berkeleyrep.org/season/1617/10650.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>It Can’t Happen Here\u003c/em>, \u003c/a>a timely play about a presidential candidate who wins office by promising to make America great again.\u003c/p>\n\u003cfigure id=\"attachment_12192305\" class=\"wp-caption alignright\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12192305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-2-e1476247515682.jpg\" alt=\"Buzz Windrip (David Kelly) threatens the American Republic with a sleazy charisma in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-2-e1476247515682.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-2-e1476247515682-400x225.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Buzz Windrip (David Kelly) threatens the American Republic with a sleazy charisma in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the leadership of Taccone and managing director Susie Medak, Berkeley Rep sent 23 shows to New York, including Carrie Fisher’s \u003cem>Wishful Drinking\u003c/em>, which Taccone directed, and Green Day’s \u003cem>American Idiot\u003c/em>. Other shows developed in Berkeley moved on to London and Hong Kong. Under Taccone, Berkeley Rep also became the West Coast home for innovative productions by Chicago’s Mary Zimmerman; Cornwall, England’s Knee High Theatre; and new work by Oakland’s Marcus Gardley, Julia Cho, and \u003cem>Angels in America\u003c/em> playwright Tony Kushner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s very rare that a person’s individual ambitions can be matched by an organization’s,” Taccone says. He named Berkeley Rep’s Ground Floor play development program as one of his proudest achievements. “Ground Floor is a safe home for artists who want to take risks,” Taccone says.\u003c/p>\n\u003cp>“It’s been an amazing tenure,” said Bay Area News Group theater critic Karen D’Souza. “Tony Taccone has really transformed Berkeley Rep from a local success to a national powerhouse, producing both classical plays and new work.”\u003c/p>\n\u003cp>Theater Bay Area Executive Director Brad Erickson echoes that assessment, praising Taccone’s speed at getting \u003cem>It Can’t Happen Here \u003c/em>ready so that audiences could reflect on on a story about the fascist takeover of the country in time for the presidential campaign.\u003c/p>\n\u003cp>“He had the courage to develop that show when it often takes years to put a production together,” Erickson says. “Sometimes we have to speak to the moment as well as the ages.”\u003c/p>\n\u003cp>Taccone credited the company’s success, during his tenure, to Berkeley Rep’s board and staff, as well as the city of Berkeley. “There’s a spirit of openness here, a willingness to be open to imaginative constructs people might not have experienced before,” Taccone says. “You don’t get that in a lot of places.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Medak says the company is not yet ready to discuss its plans for hiring Taccone’s successor.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-themes-from-the-60s-a-minimalists-birthday-and-a-candy-ass",
"title": "Cy and David's Picks: Themes from the '60s, A Minimalist's Birthday, and a Candy Ass",
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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>http://www.kqed.org/.stream/mp3splice/radio/thedolist/2017/01/TDL20170127.mp3\u003c/p>\n\u003cp>Here at KQED Arts, we’ve launched \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">First 100 days: Art in the Age of Trump\u003c/a>\u003c/em>, a series of stories about how Bay Area artists respond to the new administration. Comedian \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener\">Zahra Noorbaksh’s\u003c/a> new show tackles what it’s like to be a Muslim comedian under this new administration.\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast ‘Good Muslim, Bad Muslim’\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1920x1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh hosts the podcast ‘Good Muslim, Bad Muslim.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow Noorbaksh, recently featured on \u003ca href=\"http://www.npr.org/2017/01/18/510346895/after-trumps-election-a-non-practicing-muslim-returns-to-prayer\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>, manages to be funny about everything from Muslim registries and deportation centers to pussy hats. \u003cem>On Behalf of All Muslims\u003c/em> is at a venue we don’t usually cover, the Islamic Center of Northern California in Oakland, and runs \u003cstrong>Feb. 2–4 and 9–13\u003c/strong>. Details \u003ca href=\"http://obam.brownpapertickets.com/?utm_source=General+Interest&utm_campaign=02196f2d80-EMAIL_CAMPAIGN_2017_01_14&utm_medium=email&utm_term=0_5b5b50c93c-02196f2d80-93088781\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now the rest of the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RAhNYRTV0Sg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 29\u003c/strong>: Bay Area Jazz violinist Mads Tolling and his Mads Men are mining the \u003cem>Mad Men\u003c/em> TV era, finding musical gold in the theme music for TV shows and movies from the sixties — everything from the classic-cool of \u003cem>Mission Impossible\u003c/em> (Lalo Schifrin) and \u003cem>The Pink Panther\u003c/em> (Henry Mancini) to the classic-corn of \u003cem>The Flintstones\u003c/em> (Hoyt Curtin, Joseph Barbera and William Hanna). Details for their two album release shows (\u003cem>Playing the ’60s\u003c/em>) at Yoshi’s in Oakland are right \u003ca href=\"http://www.yoshis.com/event/1230483-mads-tolling-mads-men-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12681839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12681839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-800x415.jpg\" alt=\"Hi Jewboy/Hi by Cary Liebowitz is part of the career retrospective at the Contemporary Jewish Museum\" width=\"800\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-800x415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-768x398.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1020x529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1920x996.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1180x612.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-960x498.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hi Jewboy/Hi by Cary Liebowitz is part of the career retrospective at the Contemporary Jewish Museum. \u003ccite>(Photo: Courtesy of the artist and INVISIBLE-EXPORTS. Cary Leibowitz: Museum Show)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 26–June 25\u003c/strong>: Artist Cary Liebowitz also goes by the name Candy Ass. It fits his image as a self-deprecating, funny, gay, Jewish artist. A lot of his work is text based: a hot pink canvas with the words “Do these pants make me look Jewish,” and a “Go Fags!” sports pennant. It may sound lighthearted, or offensive, but Liebowitz fearlessly digs into issues of depression and self-esteem in ways no one has before. His first career retrospective continues at San Francisco’s \u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a>. Details \u003ca href=\"https://www.thecjm.org/exhibitions/12\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZXJWO2FQ16c\u003c/p>\n\u003cp>\u003cstrong>Jan. 29\u003c/strong>: It’s been a season of important birthdays for a groundbreaking generation of a classical composers. Berkeley’s John Adams turns 70 (more on that next week), Philip Glass just turned 80, and so did \u003ca href=\"http://www.stevereich.com/\" target=\"_blank\" rel=\"noopener\">Steve Reich,\u003c/a> who sets up exquisite rhythms, often featuring marimbas and clapping hands, and then shifts the pattern just a bit to take you into a new musical universe. Reich is in Berkeley to oversee the premiere of a new work, \u003cem>Runner, \u003c/em>a co-commission by \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> with the crackerjack chamber group \u003ca href=\"http://signalensemble.org/\" target=\"_blank\" rel=\"noopener\">Ensemble Signal\u003c/a>, led by Brad Lubman. Details for the show at Zellerbach Hall are \u003ca href=\"https://calperformances.org/performances/2016-17/new-music/ensemble-signal.php\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11268315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-800x450.jpg\" alt=\"Ralph Carney (third from left) plays with the Kronos Quartet at the 2015 Cabrillo Festival of Contemporary Music in Santa Cruz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP.jpg 1919w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney (third from left) plays with the Kronos Quartet at the 2015 Cabrillo Festival of Contemporary Music in Santa Cruz \u003ccite>(Courtesy: Ralph Carney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 2-4\u003c/strong>: We rarely feature more than one classical show on The Do List, but how we can we neglect the routine brilliance of the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. David Harrington and his contemporary chamber group is staging its annual festival at \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, doing four nights of category-defying music, including pieces by the Who’s Pete Townshend, Van Dyke Parks, Van Anh Vo, new work from Sahba Aminikia, and lots more. Details are \u003ca href=\"http://kronosquartet.org/kronos-festival-2017\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12682039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12682039 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy%E2%80%99s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company%E2%80%99s-production-of-Tom-Stoppard%E2%80%99s-The-Real-Thing-e1485470995314-800x465.jpg\" alt=\"Annie (Liz Sklar) resists Billy’s (Tommy Gorrebeeck) advances in Aurora Theatre Company’s production of Tom Stoppard’s The Real Thing\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1920x1117.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-520x302.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie (Liz Sklar) resists Billy’s (Tommy Gorrebeeck) advances in Aurora Theatre Company’s production of Tom Stoppard’s The Real Thing \u003ccite>(Photo: David Allen/Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 27–March 5\u003c/strong>: Tom Stoppard is a master of sometimes very abstruse theater, like \u003cem>\u003ca href=\"https://www.amazon.com/Coast-Utopia-Voyage-Shipwreck-Salvage/dp/0802143407\" target=\"_blank\" rel=\"noopener\">The Coast of Utopia\u003c/a>,\u003c/em> his trilogy on the birth of Russian radicalism. But in 1982’s \u003cem>The Real Thing\u003c/em>, he wrote a play that’s both intellectually rigorous, and about love and marriage, feelings and humor. This is a show where it really matters who plays the women, and we’re in good hands with Bay Area stars Liz Sklar and \u003ca href=\"http://www.carriepaff.com/CarriePaff/Home.html\" target=\"_blank\" rel=\"noopener\">Carrie Paff\u003c/a>, with Timothy Near directing. Can’t wait. Details for the run at the \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=press_show&id=131\" target=\"_blank\" rel=\"noopener\">Aurora Theatre\u003c/a> in Berkeley are \u003ca href=\"https://www.auroratheatre.org/index.php?option=com_theatre&view=show&id=131\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1b9n0Amr9RI\u003c/p>\n\u003cp>\u003cstrong>Feb. 2 and 3\u003c/strong>: \u003ca href=\"https://runthejewels.com/\" target=\"_blank\" rel=\"noopener\">Run the Jewels\u003c/a>, El-P and Killer Mike, are two very cool, very odd, very funny rappers, combining amazingly inventive profanities with politics. They’ve released a new album that challenges our new President (“We return from the depths of the badland / With a gun and a knife in our waistband / Went to war with the Devil and Shaytan / He wore a bad toupee and a spray tan”), and an upcoming appearance on \u003ca href=\"https://www.youtube.com/watch?v=G5Da2ISBiEw\" target=\"_blank\" rel=\"noopener\">\u003cem>Portlandia \u003c/em>\u003c/a>(very funny). It’s hard to be more relevant. Details for their show at City National Civic in San Jose are \u003ca href=\"http://sanjosetheaters.org/event/run-the-jewels/?instance_id=8164\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Their show at the Fox in Oakland is sold out (but details \u003ca href=\"http://thefoxoakland.com/events/run-the-jewels-run-the-world-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "This week, it's rappers El-P and Killer Mike, a Steve Reich celebration, Muslim comedy and the artist known as Candy Ass in Cy and David's pick for the best events this week.",
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"title": "Cy and David's Picks: Themes from the '60s, A Minimalist's Birthday, and a Candy Ass | KQED",
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"headline": "Cy and David's Picks: Themes from the '60s, A Minimalist's Birthday, and a Candy Ass",
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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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here at KQED Arts, we’ve launched \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">First 100 days: Art in the Age of Trump\u003c/a>\u003c/em>, a series of stories about how Bay Area artists respond to the new administration. Comedian \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener\">Zahra Noorbaksh’s\u003c/a> new show tackles what it’s like to be a Muslim comedian under this new administration.\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast ‘Good Muslim, Bad Muslim’\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1920x1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh hosts the podcast ‘Good Muslim, Bad Muslim.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow Noorbaksh, recently featured on \u003ca href=\"http://www.npr.org/2017/01/18/510346895/after-trumps-election-a-non-practicing-muslim-returns-to-prayer\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>, manages to be funny about everything from Muslim registries and deportation centers to pussy hats. \u003cem>On Behalf of All Muslims\u003c/em> is at a venue we don’t usually cover, the Islamic Center of Northern California in Oakland, and runs \u003cstrong>Feb. 2–4 and 9–13\u003c/strong>. Details \u003ca href=\"http://obam.brownpapertickets.com/?utm_source=General+Interest&utm_campaign=02196f2d80-EMAIL_CAMPAIGN_2017_01_14&utm_medium=email&utm_term=0_5b5b50c93c-02196f2d80-93088781\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now the rest of 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/RAhNYRTV0Sg'\n title='//www.youtube.com/embed/RAhNYRTV0Sg'\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>Jan. 29\u003c/strong>: Bay Area Jazz violinist Mads Tolling and his Mads Men are mining the \u003cem>Mad Men\u003c/em> TV era, finding musical gold in the theme music for TV shows and movies from the sixties — everything from the classic-cool of \u003cem>Mission Impossible\u003c/em> (Lalo Schifrin) and \u003cem>The Pink Panther\u003c/em> (Henry Mancini) to the classic-corn of \u003cem>The Flintstones\u003c/em> (Hoyt Curtin, Joseph Barbera and William Hanna). Details for their two album release shows (\u003cem>Playing the ’60s\u003c/em>) at Yoshi’s in Oakland are right \u003ca href=\"http://www.yoshis.com/event/1230483-mads-tolling-mads-men-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12681839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12681839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-800x415.jpg\" alt=\"Hi Jewboy/Hi by Cary Liebowitz is part of the career retrospective at the Contemporary Jewish Museum\" width=\"800\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-800x415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-768x398.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1020x529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1920x996.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1180x612.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-960x498.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hi Jewboy/Hi by Cary Liebowitz is part of the career retrospective at the Contemporary Jewish Museum. \u003ccite>(Photo: Courtesy of the artist and INVISIBLE-EXPORTS. Cary Leibowitz: Museum Show)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 26–June 25\u003c/strong>: Artist Cary Liebowitz also goes by the name Candy Ass. It fits his image as a self-deprecating, funny, gay, Jewish artist. A lot of his work is text based: a hot pink canvas with the words “Do these pants make me look Jewish,” and a “Go Fags!” sports pennant. It may sound lighthearted, or offensive, but Liebowitz fearlessly digs into issues of depression and self-esteem in ways no one has before. His first career retrospective continues at San Francisco’s \u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a>. Details \u003ca href=\"https://www.thecjm.org/exhibitions/12\" 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/ZXJWO2FQ16c'\n title='//www.youtube.com/embed/ZXJWO2FQ16c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 29\u003c/strong>: It’s been a season of important birthdays for a groundbreaking generation of a classical composers. Berkeley’s John Adams turns 70 (more on that next week), Philip Glass just turned 80, and so did \u003ca href=\"http://www.stevereich.com/\" target=\"_blank\" rel=\"noopener\">Steve Reich,\u003c/a> who sets up exquisite rhythms, often featuring marimbas and clapping hands, and then shifts the pattern just a bit to take you into a new musical universe. Reich is in Berkeley to oversee the premiere of a new work, \u003cem>Runner, \u003c/em>a co-commission by \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> with the crackerjack chamber group \u003ca href=\"http://signalensemble.org/\" target=\"_blank\" rel=\"noopener\">Ensemble Signal\u003c/a>, led by Brad Lubman. Details for the show at Zellerbach Hall are \u003ca href=\"https://calperformances.org/performances/2016-17/new-music/ensemble-signal.php\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11268315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-800x450.jpg\" alt=\"Ralph Carney (third from left) plays with the Kronos Quartet at the 2015 Cabrillo Festival of Contemporary Music in Santa Cruz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP.jpg 1919w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney (third from left) plays with the Kronos Quartet at the 2015 Cabrillo Festival of Contemporary Music in Santa Cruz \u003ccite>(Courtesy: Ralph Carney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 2-4\u003c/strong>: We rarely feature more than one classical show on The Do List, but how we can we neglect the routine brilliance of the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. David Harrington and his contemporary chamber group is staging its annual festival at \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, doing four nights of category-defying music, including pieces by the Who’s Pete Townshend, Van Dyke Parks, Van Anh Vo, new work from Sahba Aminikia, and lots more. Details are \u003ca href=\"http://kronosquartet.org/kronos-festival-2017\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12682039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12682039 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy%E2%80%99s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company%E2%80%99s-production-of-Tom-Stoppard%E2%80%99s-The-Real-Thing-e1485470995314-800x465.jpg\" alt=\"Annie (Liz Sklar) resists Billy’s (Tommy Gorrebeeck) advances in Aurora Theatre Company’s production of Tom Stoppard’s The Real Thing\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1920x1117.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-520x302.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie (Liz Sklar) resists Billy’s (Tommy Gorrebeeck) advances in Aurora Theatre Company’s production of Tom Stoppard’s The Real Thing \u003ccite>(Photo: David Allen/Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 27–March 5\u003c/strong>: Tom Stoppard is a master of sometimes very abstruse theater, like \u003cem>\u003ca href=\"https://www.amazon.com/Coast-Utopia-Voyage-Shipwreck-Salvage/dp/0802143407\" target=\"_blank\" rel=\"noopener\">The Coast of Utopia\u003c/a>,\u003c/em> his trilogy on the birth of Russian radicalism. But in 1982’s \u003cem>The Real Thing\u003c/em>, he wrote a play that’s both intellectually rigorous, and about love and marriage, feelings and humor. This is a show where it really matters who plays the women, and we’re in good hands with Bay Area stars Liz Sklar and \u003ca href=\"http://www.carriepaff.com/CarriePaff/Home.html\" target=\"_blank\" rel=\"noopener\">Carrie Paff\u003c/a>, with Timothy Near directing. Can’t wait. Details for the run at the \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=press_show&id=131\" target=\"_blank\" rel=\"noopener\">Aurora Theatre\u003c/a> in Berkeley are \u003ca href=\"https://www.auroratheatre.org/index.php?option=com_theatre&view=show&id=131\" 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/1b9n0Amr9RI'\n title='//www.youtube.com/embed/1b9n0Amr9RI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 2 and 3\u003c/strong>: \u003ca href=\"https://runthejewels.com/\" target=\"_blank\" rel=\"noopener\">Run the Jewels\u003c/a>, El-P and Killer Mike, are two very cool, very odd, very funny rappers, combining amazingly inventive profanities with politics. They’ve released a new album that challenges our new President (“We return from the depths of the badland / With a gun and a knife in our waistband / Went to war with the Devil and Shaytan / He wore a bad toupee and a spray tan”), and an upcoming appearance on \u003ca href=\"https://www.youtube.com/watch?v=G5Da2ISBiEw\" target=\"_blank\" rel=\"noopener\">\u003cem>Portlandia \u003c/em>\u003c/a>(very funny). It’s hard to be more relevant. Details for their show at City National Civic in San Jose are \u003ca href=\"http://sanjosetheaters.org/event/run-the-jewels/?instance_id=8164\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Their show at the Fox in Oakland is sold out (but details \u003ca href=\"http://thefoxoakland.com/events/run-the-jewels-run-the-world-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lefty Bay Area 'Ghostlight' Theater Protests Point to Conservatism",
"headTitle": "Lefty Bay Area ‘Ghostlight’ Theater Protests Point to Conservatism | KQED",
"content": "\u003cp>Like many ideas born of the moment, the nationwide “Ghostlight” protest seems to mean many things to many different people. It began with New York-based\u003cstrong> \u003c/strong>set designer David Zinn emailing nine friends after Thanksgiving last year with the idea that the theater community should stand together in “some way that showed solidarity,” a union at the dawn of what is surely a new political age.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>At first no one responded. And then it seemed as if thousands did. What started out as a wistful call to action turned into an avalanche of participation: “Ghostlight” became a nationwide event with more than 775 theaters participating, from Broadway behemoths and large regional theaters to high school theater programs and scrappy basement outfits.\u003c/p>\n\u003cp>At 5:30 pm on the eve of President Trump’s inauguration, theater artists across the country gathered at host theaters and raised a symbolic light (the “ghost light” is the last light left on in a theater) for inclusion, care, and open dialogue — values participants in the protest felt the incoming Trump administration has shown little respect for.\u003c/p>\n\u003cp>In San Francisco, about 300 actors, directors, designers, playwrights, and arts patrons assembled in the Geary Theater lobby, the main home of San Francisco’s American Conservatory Theater (ACT). The mood was celebratory and free of rancor. But still, the buzz beneath the buzz had a last-party-before-the-storm vibe. You could feel the tension and uncertainty of battles yet to be waged. In a community filled with gifted, mostly left-leaning imaginations, the jarring reality of the right’s political ascent had slapped a loose collective into hazy action.\u003c/p>\n\u003cfigure id=\"attachment_12667841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12667841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-800x446.jpg\" alt=\"The Ghost Light Protest logo.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-520x290.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753.jpg 1735w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Ghostlight Protest logo. \u003ccite>(Photo: Courtesy of Ghostlight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yerba Buena Center for the Arts program director Mark Bamuthi Joseph, Crowded Fire’s artistic director Mina Morita, and ACT’s longtime leader Carey Perloff perched on the stairs in front of three microphones. Despite the cheering, there was a touch of realism at the very notion of participating in “Ghostlight” and what it might mean for the future. Or as Perloff eloquently put it, “We aren’t naive: this is just a gesture.” But a gesture to what, I wondered?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There was nothing in the “Ghostlight” protest I went to that suggested any real political directives, calls to action, or change. \u003cstrong>\u003ca href=\"https://theghostlightproject.com/action-statement\">The “Ghostlight” website\u003c/a> \u003c/strong>encourages and suggests ways of making alliances, and yet there’s little about how the theater should change or how the hard-edged politics of the right have so effectively dismantled the values that we are supposedly standing for. It’s as if everything is wonderful because it comes from the theater.\u003c/p>\n\u003cp>I personally find that to be a weakness of vision and spirit, a dilution of both the art of theater and the politics of protest. But many of the organizers and participants in “Ghostlight” believe that the haziness at the core of the protest is a source of strength, a necessary path or stage in building lasting social and political coalitions.\u003c/p>\n\u003cp>In a phone interview from New York a few days before the protest, Zinn responded to these criticisms head on and laid out a counter vision. He said that one of the necessary goals of “Ghostlight”\u003cstrong> \u003c/strong>is “encouraging people to reach out to their communities in different ways and that can mean different things to different people.” Zinn also felt it was crucial “not to dictate what the protest means.” Because in the end, he said, “that will allow for responses that are more authentic and easier to implement.”\u003c/p>\n\u003cfigure id=\"attachment_12667832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12667832 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-800x447.jpg\" alt=\"Theater artists and patrons gather in the Berkeley Rep courtyard for the June 19th Ghost Light Protest.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-1020x569.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-1920x1072.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-1180x659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-960x536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-520x290.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theater artists and patrons gather in the Berkeley Rep courtyard for the June 19th Ghost Light Protest. \u003ccite>(Photo: Cynthia Penaloza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s a beautiful vision of spontaneous political awakening. And in a fundamental way, the enthusiasm for “Ghostlight” is its own defense, though it leaves many troubling questions unasked. The chief among them is content: what types of productions should this community produce going forwards? And in what ways? And why should anyone care?\u003c/p>\n\u003cp>The answers I received from a variety of Bay Area theater artists all tilted in the same fascinating direction: In interview after interview, I heard strong echoes of a strain of traditional, conservative thought — a set of ideas that center on the value of community and the promise of spiritual salvation. These ideas, though traditionally conservative, are experiencing a revival in Bay Area theaters that are in deep opposition to the messaging commonly associated with the Trump-affiliated “alt-right” movement (an offshoot of conservatism mixing racism, white nationalism, and populism).\u003c/p>\n\u003cp>Shotgun Players’ founder and artistic director Patrick Dooley consciously sees his theater as taking on some of the civic value that religious organizations used to provide: “We can’t supplant churches and synagogues,” Dooley said. “But what we do is a lot of the same work, which is how you think about the way that you exist in the world, that you’re not alone, and that the decisions that you make and the choices that you make reflect on others.”\u003c/p>\n\u003cfigure id=\"attachment_12668067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12668067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-800x450.jpg\" alt=\"Shotgun Players' artists, staff, and patrons gather outside the Ashby Stage for the Ghost Light Protest.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shotgun Players’ artists, staff, and patrons gather outside the Ashby Stage for the Ghost Light Protest. \u003ccite>(Photo: Brady Brophy-Hilton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Shotgun Players, Ubuntu Theater Project produces its work in an old church. Co-founder and co-artistic director Michael Moran is quite evangelical about the role of spiritual values for his company. “How is it that we are secular and moral at the same time?” Moran asked. “Where did we get our morality if not from religion? And if we’re serious there is a way of organizing, using the plays as a centerpiece of encouragement, not didactically, but in terms of intellectual complexity and poetry. I mean, what would it look like if theaters did what the churches did in the civil rights movement?”\u003c/p>\n\u003cp>And Lisa Steindler, the artistic director of Z Space, has always thought of her theater as a “town hall or sanctuary; a place where people can gather, commune, and have different opinions.” Steindler said that it’s important for her space to be welcoming and feel safe for everyone. “Because if it’s safe, you can have the harder conversations,” that she feels are so central to the mission of her theater. It is this type of steady work with audiences that has been and still is the work of our best theaters in the Bay Area.\u003c/p>\n\u003cp>So it’s a topsy turvy world, where Republicans are the agents of radical change and Bay Area theater artists, the stewards of traditional religious values. “Change happens largely invisibly in tiny increments,” the Berkeley Repertory Theater’s artistic director Tony Taccone pointed out in an interview the morning before the protest. “Everyone notices the moments of titanic change, the epiphany, but that happens about once every 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_12678162\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12678162 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/St%C3%B6wer_Titanic-e1485397162100.jpg\" alt=\"A long buildup to the moment you'll never forget.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Stöwer_Titanic-e1485397162100.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Stöwer_Titanic-e1485397162100-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Stöwer_Titanic-e1485397162100-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Stöwer_Titanic-e1485397162100-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Stöwer_Titanic-e1485397162100-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A long buildup to the moment you’ll never forget. \u003ccite>(Courtesy of Wikipedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think Taccone is right. Invisibly and without our noticing it, American culture has shifted and reordered its values over the last 10 years. We’re shocked that the Titanic is sinking, but the fissures have been cracking open for some time. And that leads me back to plays and productions, the core content that our theaters produce.\u003c/p>\n\u003cp>Churches, synagogues, and mosques all center their flocks around great works of literature and a complex set of rituals in how they respond to that literature. The sustained richness of that tradition is the source of great power, both cultural and political. Without a commitment to that type of greatness, I worry that these protests are in danger of merely being a celebration of our virtue.\u003c/p>\n\u003cp>But as Zinn said to me, “This is just the beginning.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "Lefty Bay Area 'Ghostlight' Theater Protests Point to Conservatism | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many ideas born of the moment, the nationwide “Ghostlight” protest seems to mean many things to many different people. It began with New York-based\u003cstrong> \u003c/strong>set designer David Zinn emailing nine friends after Thanksgiving last year with the idea that the theater community should stand together in “some way that showed solidarity,” a union at the dawn of what is surely a new political age.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>At first no one responded. And then it seemed as if thousands did. What started out as a wistful call to action turned into an avalanche of participation: “Ghostlight” became a nationwide event with more than 775 theaters participating, from Broadway behemoths and large regional theaters to high school theater programs and scrappy basement outfits.\u003c/p>\n\u003cp>At 5:30 pm on the eve of President Trump’s inauguration, theater artists across the country gathered at host theaters and raised a symbolic light (the “ghost light” is the last light left on in a theater) for inclusion, care, and open dialogue — values participants in the protest felt the incoming Trump administration has shown little respect for.\u003c/p>\n\u003cp>In San Francisco, about 300 actors, directors, designers, playwrights, and arts patrons assembled in the Geary Theater lobby, the main home of San Francisco’s American Conservatory Theater (ACT). The mood was celebratory and free of rancor. But still, the buzz beneath the buzz had a last-party-before-the-storm vibe. You could feel the tension and uncertainty of battles yet to be waged. In a community filled with gifted, mostly left-leaning imaginations, the jarring reality of the right’s political ascent had slapped a loose collective into hazy action.\u003c/p>\n\u003cfigure id=\"attachment_12667841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12667841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-800x446.jpg\" alt=\"The Ghost Light Protest logo.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753-520x290.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghost-Light-Logo-e1485394650753.jpg 1735w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Ghostlight Protest logo. \u003ccite>(Photo: Courtesy of Ghostlight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yerba Buena Center for the Arts program director Mark Bamuthi Joseph, Crowded Fire’s artistic director Mina Morita, and ACT’s longtime leader Carey Perloff perched on the stairs in front of three microphones. Despite the cheering, there was a touch of realism at the very notion of participating in “Ghostlight” and what it might mean for the future. Or as Perloff eloquently put it, “We aren’t naive: this is just a gesture.” But a gesture to what, I wondered?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There was nothing in the “Ghostlight” protest I went to that suggested any real political directives, calls to action, or change. \u003cstrong>\u003ca href=\"https://theghostlightproject.com/action-statement\">The “Ghostlight” website\u003c/a> \u003c/strong>encourages and suggests ways of making alliances, and yet there’s little about how the theater should change or how the hard-edged politics of the right have so effectively dismantled the values that we are supposedly standing for. It’s as if everything is wonderful because it comes from the theater.\u003c/p>\n\u003cp>I personally find that to be a weakness of vision and spirit, a dilution of both the art of theater and the politics of protest. But many of the organizers and participants in “Ghostlight” believe that the haziness at the core of the protest is a source of strength, a necessary path or stage in building lasting social and political coalitions.\u003c/p>\n\u003cp>In a phone interview from New York a few days before the protest, Zinn responded to these criticisms head on and laid out a counter vision. He said that one of the necessary goals of “Ghostlight”\u003cstrong> \u003c/strong>is “encouraging people to reach out to their communities in different ways and that can mean different things to different people.” Zinn also felt it was crucial “not to dictate what the protest means.” Because in the end, he said, “that will allow for responses that are more authentic and easier to implement.”\u003c/p>\n\u003cfigure id=\"attachment_12667832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12667832 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-800x447.jpg\" alt=\"Theater artists and patrons gather in the Berkeley Rep courtyard for the June 19th Ghost Light Protest.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-1020x569.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-1920x1072.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-1180x659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-960x536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629-520x290.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/GhostLight_Berkeley-Rep-courtyard-e1485200934629.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theater artists and patrons gather in the Berkeley Rep courtyard for the June 19th Ghost Light Protest. \u003ccite>(Photo: Cynthia Penaloza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s a beautiful vision of spontaneous political awakening. And in a fundamental way, the enthusiasm for “Ghostlight” is its own defense, though it leaves many troubling questions unasked. The chief among them is content: what types of productions should this community produce going forwards? And in what ways? And why should anyone care?\u003c/p>\n\u003cp>The answers I received from a variety of Bay Area theater artists all tilted in the same fascinating direction: In interview after interview, I heard strong echoes of a strain of traditional, conservative thought — a set of ideas that center on the value of community and the promise of spiritual salvation. These ideas, though traditionally conservative, are experiencing a revival in Bay Area theaters that are in deep opposition to the messaging commonly associated with the Trump-affiliated “alt-right” movement (an offshoot of conservatism mixing racism, white nationalism, and populism).\u003c/p>\n\u003cp>Shotgun Players’ founder and artistic director Patrick Dooley consciously sees his theater as taking on some of the civic value that religious organizations used to provide: “We can’t supplant churches and synagogues,” Dooley said. “But what we do is a lot of the same work, which is how you think about the way that you exist in the world, that you’re not alone, and that the decisions that you make and the choices that you make reflect on others.”\u003c/p>\n\u003cfigure id=\"attachment_12668067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12668067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-800x450.jpg\" alt=\"Shotgun Players' artists, staff, and patrons gather outside the Ashby Stage for the Ghost Light Protest.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Ghostlight_Shotgun3-e1485206282486.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shotgun Players’ artists, staff, and patrons gather outside the Ashby Stage for the Ghost Light Protest. \u003ccite>(Photo: Brady Brophy-Hilton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Shotgun Players, Ubuntu Theater Project produces its work in an old church. Co-founder and co-artistic director Michael Moran is quite evangelical about the role of spiritual values for his company. “How is it that we are secular and moral at the same time?” Moran asked. “Where did we get our morality if not from religion? And if we’re serious there is a way of organizing, using the plays as a centerpiece of encouragement, not didactically, but in terms of intellectual complexity and poetry. I mean, what would it look like if theaters did what the churches did in the civil rights movement?”\u003c/p>\n\u003cp>And Lisa Steindler, the artistic director of Z Space, has always thought of her theater as a “town hall or sanctuary; a place where people can gather, commune, and have different opinions.” Steindler said that it’s important for her space to be welcoming and feel safe for everyone. “Because if it’s safe, you can have the harder conversations,” that she feels are so central to the mission of her theater. It is this type of steady work with audiences that has been and still is the work of our best theaters in the Bay Area.\u003c/p>\n\u003cp>So it’s a topsy turvy world, where Republicans are the agents of radical change and Bay Area theater artists, the stewards of traditional religious values. “Change happens largely invisibly in tiny increments,” the Berkeley Repertory Theater’s artistic director Tony Taccone pointed out in an interview the morning before the protest. “Everyone notices the moments of titanic change, the epiphany, but that happens about once every 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_12678162\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12678162 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/St%C3%B6wer_Titanic-e1485397162100.jpg\" alt=\"A long buildup to the moment you'll never forget.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Stöwer_Titanic-e1485397162100.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Stöwer_Titanic-e1485397162100-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Stöwer_Titanic-e1485397162100-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Stöwer_Titanic-e1485397162100-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Stöwer_Titanic-e1485397162100-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A long buildup to the moment you’ll never forget. \u003ccite>(Courtesy of Wikipedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think Taccone is right. Invisibly and without our noticing it, American culture has shifted and reordered its values over the last 10 years. We’re shocked that the Titanic is sinking, but the fissures have been cracking open for some time. And that leads me back to plays and productions, the core content that our theaters produce.\u003c/p>\n\u003cp>Churches, synagogues, and mosques all center their flocks around great works of literature and a complex set of rituals in how they respond to that literature. The sustained richness of that tradition is the source of great power, both cultural and political. Without a commitment to that type of greatness, I worry that these protests are in danger of merely being a celebration of our virtue.\u003c/p>\n\u003cp>But as Zinn said to me, “This is just the beginning.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttps://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170120.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Whether the presidential inauguration is making you queasy or giving you a thrill, it’s always a good idea to turn off the TV and take in some shows. As extras this week, we’re suggesting the pianist \u003ca href=\"http://www.hollybowling.com/\" target=\"_blank\" rel=\"noopener\">Holly Bowling’s\u003c/a> reimagining of the Grateful Dead’s songs at the \u003ca href=\"http://centerfornewmusic.com/calendar/\" target=\"_blank\" rel=\"noopener\">Center for New Music on Jan. 25\u003c/a>. Or for pure musical pleasure but with a political payoff, try an inauguration night (Jan. 20) benefit concert by \u003ca href=\"http://www.f49music.com/\" target=\"_blank\" rel=\"noopener\">Frequency 49\u003c/a>, a San Francisco-based woodwind sextet, with all proceeds going to the American Civil Liberties Union, at the \u003ca href=\"http://www.uusf.org/\" target=\"_blank\" rel=\"noopener\">First Unitarian Universalist Church of San Francisco\u003c/a>. \u003c/p>\n\u003cp>Now on to the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p3gcYSndLfc\u003c/p>\n\u003cp>\u003cstrong>Jan 21 and 22\u003c/strong>: \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> isn’t like most orchestras. For one, there are no charismatic conductors; instead General Director Andrew Bales picks the repertory, finds a good conductor, and then counts on his devoted musicians to make it all sound great. That formula is working well, and this weekend Bales got \u003ca href=\"http://paulpolivnick.com/\" target=\"_blank\" rel=\"noopener\">Paul Polivnick\u003c/a> (a regular) conducting two pieces by American composer Kevin Puts (once a composer in residence at the California Symphony), Leonard Bernstein’s \u003cem>Fancy Free \u003c/em>(gorgeous), and a violin concerto by \u003ca href=\"http://www.boosey.com/composer/Dmitry+Kabalevsky\" target=\"_blank\" rel=\"noopener\">Dmitri Kabalavsky\u003c/a> that features virtuoso \u003ca href=\"http://www.dispeker.com/artist.php?id=mkamio\" target=\"_blank\" rel=\"noopener\">Mayuko Kamio\u003c/a>. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12645341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12645341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-800x556.jpg\" alt=\"Taxicab driver at the wheel with two passengers, N.Y.C. 1956\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1920x1335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-960x667.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taxicab driver at the wheel with two passengers, N.Y.C. 1956 \u003ccite>(Photo: Diane Arbus/Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 25–April 30\u003c/strong>: \u003ca href=\"http://nymag.com/thecut/2016/07/diane-arbus-c-v-r.html\" target=\"_blank\" rel=\"noopener\">Diane Arbus\u003c/a> was such a brave photographer, daring to shoot pictures of people on the street who many of us might have been too shy to approach, and outsiders like a fire eater on Coney Island, or a stripper backstage in Atlantic City. And her subjects stare right back at you. The San Francisco Museum of Modern Art is presenting a show of Arbus’s early work (curated by the Metropolitan Museum of Art) called \u003cem>Diane Arbus: In the Beginning,\u003c/em> and these 100 pictures show her already mastering that penetratingly direct gaze. \u003ca href=\"https://www.sfmoma.org/exhibition/diane-arbus-beginning/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gEAVSLzhxN0\u003c/p>\n\u003cp>\u003cstrong>Jan 21\u003c/strong>: The Bay Area’s \u003ca href=\"https://www.andreaclaburn.com/\" target=\"_blank\" rel=\"noopener\">Andrea Claburn\u003c/a> is a young, underappreciated veteran of the West Coast jazz scene. David notes that she’s a true jazz singer, getting the most out of her chosen instrument. She also does her own arrangements, and wrote five of the songs on her new album, \u003cem>Nightshade. \u003c/em>She’s a graduate of Berkeley’s \u003ca href=\"https://cjc.edu/concerts/\" target=\"_blank\" rel=\"noopener\">California Jazz Conservatory\u003c/a>, where she now teaches. For the album, and her gig Jan. 21 at the Jazz Conservatory, she’s working with an all star band: Matt Clark on piano (her regular accompaniist), Erik Jekabson on trumpet, Terence Brewer on guitar, and Jon Santos on percussion. It’s a \u003cstrong>CHEAP THRILL!\u003c/strong>, just $15, and it should be very good. Details \u003ca href=\"https://www.andreaclaburn.com/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> or \u003ca href=\"https://cjc.edu/concerts/?eid=17219\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wMJvLTZOhpE\u003c/p>\n\u003cp>\u003cstrong>Jan 25–Feb. 19\u003c/strong>: I know everyone is gung ho about \u003ca href=\"http://www.hamiltonbroadway.com/tour.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> finally coming to San Francisco, but my feeling is that the \u003ca href=\"http://funhomebroadway.com/tour.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a> tour is just as big a deal. This is \u003ca href=\"http://www.lisakron.org/\" target=\"_blank\" rel=\"noopener\">Lisa Kron \u003c/a>(\u003cem>Well\u003c/em>) and Jeanine Tesori’s (\u003cem>Caroline or Change\u003c/em>) Tony-winning musical based on the graphic memoir by \u003ca href=\"https://www.facebook.com/alison.bechdel/\" target=\"_blank\" rel=\"noopener\">Alison Bechdel\u003c/a>, about growing up lesbian in her parent’s funeral home, with a closeted gay dad and a withholding mom. It’s a beautiful and sad coming-of-age story, and the first Broadway musical featuring a lesbian character in the lead. \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12644538\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12644538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-800x495.jpg\" alt=\"Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Audiences for \u003cem>Fun Home\u003c/em> also get to christen the refurbished Curran Theater. Owned by Carole Shorenstein Hays, one of the great local theater producers (\u003cem>Fences\u003c/em>), Shorensteing-Yas says she just spent two years and a “zillion dollars” (she won’t reveal the actual number) refurbishing the Curran, which is near Union Square. As she sat in her favorite seat way up in the balcony, I asked Hays why attending shows at the Curran means so much to her. “Being in the audience,” she said, “illuminates the mind and settles the soul. We’re suddenly together and understanding that we’re not alone. The audience for me is as sacred and as essential as the artists on stage, and when we’re all together, we really become our best.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zLQ1Bvm7SFo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 21\u003c/strong>: \u003ca href=\"http://fatpossum.com/artists/american-wrestlers/\" target=\"_blank\" rel=\"noopener\">American Wrestlers\u003c/a> make music for dancing and thinking, not chokeholds. They’re a St. Louis band led by Scotsman Gary McClure and his wife Bridgette Imperial. They make terrific music with smart lyrics, and I love how tricky categories are in pop music these days. One article about the group described them as alt-rock, indie, power pop, lo-fi, and shoe-gaze. Take your pick, but see them at Bottom of the Hill. \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.UCt1GavV.dpbs\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttps://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170120.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Whether the presidential inauguration is making you queasy or giving you a thrill, it’s always a good idea to turn off the TV and take in some shows. As extras this week, we’re suggesting the pianist \u003ca href=\"http://www.hollybowling.com/\" target=\"_blank\" rel=\"noopener\">Holly Bowling’s\u003c/a> reimagining of the Grateful Dead’s songs at the \u003ca href=\"http://centerfornewmusic.com/calendar/\" target=\"_blank\" rel=\"noopener\">Center for New Music on Jan. 25\u003c/a>. Or for pure musical pleasure but with a political payoff, try an inauguration night (Jan. 20) benefit concert by \u003ca href=\"http://www.f49music.com/\" target=\"_blank\" rel=\"noopener\">Frequency 49\u003c/a>, a San Francisco-based woodwind sextet, with all proceeds going to the American Civil Liberties Union, at the \u003ca href=\"http://www.uusf.org/\" target=\"_blank\" rel=\"noopener\">First Unitarian Universalist Church of San Francisco\u003c/a>. \u003c/p>\n\u003cp>Now on to the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p3gcYSndLfc'\n title='//www.youtube.com/embed/p3gcYSndLfc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 21 and 22\u003c/strong>: \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> isn’t like most orchestras. For one, there are no charismatic conductors; instead General Director Andrew Bales picks the repertory, finds a good conductor, and then counts on his devoted musicians to make it all sound great. That formula is working well, and this weekend Bales got \u003ca href=\"http://paulpolivnick.com/\" target=\"_blank\" rel=\"noopener\">Paul Polivnick\u003c/a> (a regular) conducting two pieces by American composer Kevin Puts (once a composer in residence at the California Symphony), Leonard Bernstein’s \u003cem>Fancy Free \u003c/em>(gorgeous), and a violin concerto by \u003ca href=\"http://www.boosey.com/composer/Dmitry+Kabalevsky\" target=\"_blank\" rel=\"noopener\">Dmitri Kabalavsky\u003c/a> that features virtuoso \u003ca href=\"http://www.dispeker.com/artist.php?id=mkamio\" target=\"_blank\" rel=\"noopener\">Mayuko Kamio\u003c/a>. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12645341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12645341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-800x556.jpg\" alt=\"Taxicab driver at the wheel with two passengers, N.Y.C. 1956\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1920x1335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-960x667.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taxicab driver at the wheel with two passengers, N.Y.C. 1956 \u003ccite>(Photo: Diane Arbus/Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 25–April 30\u003c/strong>: \u003ca href=\"http://nymag.com/thecut/2016/07/diane-arbus-c-v-r.html\" target=\"_blank\" rel=\"noopener\">Diane Arbus\u003c/a> was such a brave photographer, daring to shoot pictures of people on the street who many of us might have been too shy to approach, and outsiders like a fire eater on Coney Island, or a stripper backstage in Atlantic City. And her subjects stare right back at you. The San Francisco Museum of Modern Art is presenting a show of Arbus’s early work (curated by the Metropolitan Museum of Art) called \u003cem>Diane Arbus: In the Beginning,\u003c/em> and these 100 pictures show her already mastering that penetratingly direct gaze. \u003ca href=\"https://www.sfmoma.org/exhibition/diane-arbus-beginning/\" 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/gEAVSLzhxN0'\n title='//www.youtube.com/embed/gEAVSLzhxN0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 21\u003c/strong>: The Bay Area’s \u003ca href=\"https://www.andreaclaburn.com/\" target=\"_blank\" rel=\"noopener\">Andrea Claburn\u003c/a> is a young, underappreciated veteran of the West Coast jazz scene. David notes that she’s a true jazz singer, getting the most out of her chosen instrument. She also does her own arrangements, and wrote five of the songs on her new album, \u003cem>Nightshade. \u003c/em>She’s a graduate of Berkeley’s \u003ca href=\"https://cjc.edu/concerts/\" target=\"_blank\" rel=\"noopener\">California Jazz Conservatory\u003c/a>, where she now teaches. For the album, and her gig Jan. 21 at the Jazz Conservatory, she’s working with an all star band: Matt Clark on piano (her regular accompaniist), Erik Jekabson on trumpet, Terence Brewer on guitar, and Jon Santos on percussion. It’s a \u003cstrong>CHEAP THRILL!\u003c/strong>, just $15, and it should be very good. Details \u003ca href=\"https://www.andreaclaburn.com/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> or \u003ca href=\"https://cjc.edu/concerts/?eid=17219\" 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/wMJvLTZOhpE'\n title='//www.youtube.com/embed/wMJvLTZOhpE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 25–Feb. 19\u003c/strong>: I know everyone is gung ho about \u003ca href=\"http://www.hamiltonbroadway.com/tour.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> finally coming to San Francisco, but my feeling is that the \u003ca href=\"http://funhomebroadway.com/tour.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a> tour is just as big a deal. This is \u003ca href=\"http://www.lisakron.org/\" target=\"_blank\" rel=\"noopener\">Lisa Kron \u003c/a>(\u003cem>Well\u003c/em>) and Jeanine Tesori’s (\u003cem>Caroline or Change\u003c/em>) Tony-winning musical based on the graphic memoir by \u003ca href=\"https://www.facebook.com/alison.bechdel/\" target=\"_blank\" rel=\"noopener\">Alison Bechdel\u003c/a>, about growing up lesbian in her parent’s funeral home, with a closeted gay dad and a withholding mom. It’s a beautiful and sad coming-of-age story, and the first Broadway musical featuring a lesbian character in the lead. \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12644538\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12644538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-800x495.jpg\" alt=\"Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Audiences for \u003cem>Fun Home\u003c/em> also get to christen the refurbished Curran Theater. Owned by Carole Shorenstein Hays, one of the great local theater producers (\u003cem>Fences\u003c/em>), Shorensteing-Yas says she just spent two years and a “zillion dollars” (she won’t reveal the actual number) refurbishing the Curran, which is near Union Square. As she sat in her favorite seat way up in the balcony, I asked Hays why attending shows at the Curran means so much to her. “Being in the audience,” she said, “illuminates the mind and settles the soul. We’re suddenly together and understanding that we’re not alone. The audience for me is as sacred and as essential as the artists on stage, and when we’re all together, we really become our best.”\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/zLQ1Bvm7SFo'\n title='//www.youtube.com/embed/zLQ1Bvm7SFo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 21\u003c/strong>: \u003ca href=\"http://fatpossum.com/artists/american-wrestlers/\" target=\"_blank\" rel=\"noopener\">American Wrestlers\u003c/a> make music for dancing and thinking, not chokeholds. They’re a St. Louis band led by Scotsman Gary McClure and his wife Bridgette Imperial. They make terrific music with smart lyrics, and I love how tricky categories are in pop music these days. One article about the group described them as alt-rock, indie, power pop, lo-fi, and shoe-gaze. Take your pick, but see them at Bottom of the Hill. \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.UCt1GavV.dpbs\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "on-mlk-day-youth-speaks-poets-speak-out-against-injustice",
"title": "On MLK Day, Youth Speaks Poets Raise a Voice Against Injustice",
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"headTitle": "On MLK Day, Youth Speaks Poets Raise a Voice Against Injustice | KQED",
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"content": "\u003cp>So let’s start at the end of Youth Speaks’ 20th annual \u003ca href=\"http://youthspeaks.org/mlk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King Jr.\u003c/em>\u003c/a>, a raucous, civic-minded MLK Day celebration at San Francisco’s Nourse Auditorium that believes in the brilliance of the young and the absolute necessity that they speak about, to, and against injustice.\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>Queen Nyabingha Zianni, the evening’s host, dropped this chilling take on the present situation: “I feel I have integrated my people into a burning house.” And then a little later, the 10-year old son of poet and singer Rico Pabon took to the stage and rapped of “the destruction of the garden of Eden.” Far from ludicrous, the boy’s inclusion seemed right and appropriate. He can feel the times, too.\u003c/p>\n\u003cp>That mixture of the realistic and the apocalyptic made for a thrilling, tense night, and a daring inauguration into the age of Trump. And yet in true Youth Speaks fashion, the anger and despair was leavened by wit and hope. Founder and executive director James Kass kicked things off in his laid-back, messianic style, urging the crowd of 1,700 to “remain hopeful and optimistic, but maybe not for tomorrow.”\u003c/p>\n\u003cfigure id=\"attachment_12646918\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12646918 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg\" alt=\"Young, Gifted, and Black grabs the future at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Young, Gifted, and Black grabs the future at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And while invoking the fear of the near future, Kass asked us to embrace a different future in a different way. “Someone younger than you can be better than you,” Kass said. “We need a new narrative that speaks of justice, equity, and hope.” He wouldn’t be the last adult of the night to preach patience and cede the stage to the young.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Youth Speaks might be the only organization in the country where Moses is a job description. Yet it was clear that many of the young poets attached to the organization have never felt farther from the Promised Land, and that for them hope not only is, but also must be a political and social weapon. When performer Grace Mwambe calmly declared: “Her lungs opened like a dozen fired bullets/And amidst all that silent war/I felt joy/Black joy,” I sensed a young woman battling to hold on to something as basic as happiness. And even in the face of her affirmations, how awful it is that that should be so.\u003c/p>\n\u003cp>Similarly, when Shivani Narang spoke the words, “The only spiritual I know is our resilience and my friends’ hearts,” she laid down a poetics as radical as that of the first modernists. “So, tonight let this poem be grounded in love and let this poem be named dangerous,” Narang declared. And that’s a kind of brilliant encapsulation of \u003cem>Bringing the Noise — \u003c/em>it strives to give an aesthetic and civic representation to King’s belief in love as a political reality.\u003c/p>\n\u003cfigure id=\"attachment_12647118\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647118\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/another-try.jpg\" alt=\"Shivani Narang stakes out a radical poetics at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"425\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-375x214.jpg 375w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Shivani Narang stakes out a radical poetics at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We know that the poets have understood this call to action from the way in which they seek out beauty even under vicious and fraught conditions. The most outrageous moment of the night came when Trey Amos lay on the expansive Nourse Theater stage and got his hair done as he languidly imagined how easy it would be to embrace violence: “With all the flames you see, they should thank you for not burning everything to the ground,” he said. “Instead you place the inferno in your thighs — TO MOVE — no backing down/And continue picking your afro crown.”\u003c/p>\n\u003cp>There have been hundreds of celebrations of black hair. But none I know of until now where the shaping of an Afro quells the impulse to lash back. It’s as if Bigger Thomas in Richard Wright’s \u003cem>Native Son\u003c/em> chose his own beauty over murder. Yet throughout the evening the threat of violence was a sickening reality. Here is the future and the future is afraid of being erased. And “erased” might be too soft a word, and definitely too soft an action to describe what’s going on around us.\u003c/p>\n\u003cp>Youth Speaks has taught countless young people to value what they have to say, what they see and hear around them, their minds and the ability to speak uncomfortable truths with joy and care. They are the living embodiment of hundreds of caring adults (who kindly take on the role of Moses) and now they are under political and social conditions that constantly place them in peril. The Promised Land seems as elusive to this generation as the one before it.\u003c/p>\n\u003cfigure id=\"attachment_12647113\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg\" alt=\"Javon Johnson compares gentrification to cancer in 'Bringing the Noise' at the Nourse Auditorium.\" width=\"427\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-375x212.jpg 375w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Javon Johnson compares gentrification to cancer in ‘Bringing the Noise’ at the Nourse Theater. \u003ccite>(Photo: Bathanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s one more thing to say, which also points to a complicated future. Poem after poem I heard on stage caught this basic fact: In America blackness is an explosive identity. Everything it touches, it transforms — why else did the “\u003ca href=\"https://en.wikipedia.org/wiki/One-drop_rule\" target=\"_blank\" rel=\"noopener\">one-drop rule\u003c/a>” survive for so long? — and there’s not a white, queer, Latino, Asian, or any non-Black person on that stage who doesn’t understand this reality. What’s wonderful is that it’s accepted and seen as redemptive by everyone present. It’s a source of focus and hope.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are many reasons for Trump. One of them is a \u003ca href=\"http://www.cnn.com/2016/11/09/politics/van-jones-results-disappointment-cnntv/\" target=\"_blank\" rel=\"noopener\">whitelash\u003c/a>, a fear of contamination of what the “real” America is and is becoming. So when these young poets talk about skin and the varieties of skin tone, there’s a realization that they are all moving towards the one color that contains them all. As performer Tova Ricardo so aptly stated in her poem: “Black is not one color/Black is not one place/It’s shifting and styling under the grins of society’s eyes.”\u003c/p>\n\n",
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"excerpt": "The young performers' mixture of the realistic and the apocalyptic made for a thrilling, tense night, and a daring inauguration into the age of Trump.",
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"title": "On MLK Day, Youth Speaks Poets Raise a Voice Against Injustice | KQED",
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"headline": "On MLK Day, Youth Speaks Poets Raise a Voice Against Injustice",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So let’s start at the end of Youth Speaks’ 20th annual \u003ca href=\"http://youthspeaks.org/mlk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King Jr.\u003c/em>\u003c/a>, a raucous, civic-minded MLK Day celebration at San Francisco’s Nourse Auditorium that believes in the brilliance of the young and the absolute necessity that they speak about, to, and against injustice.\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>Queen Nyabingha Zianni, the evening’s host, dropped this chilling take on the present situation: “I feel I have integrated my people into a burning house.” And then a little later, the 10-year old son of poet and singer Rico Pabon took to the stage and rapped of “the destruction of the garden of Eden.” Far from ludicrous, the boy’s inclusion seemed right and appropriate. He can feel the times, too.\u003c/p>\n\u003cp>That mixture of the realistic and the apocalyptic made for a thrilling, tense night, and a daring inauguration into the age of Trump. And yet in true Youth Speaks fashion, the anger and despair was leavened by wit and hope. Founder and executive director James Kass kicked things off in his laid-back, messianic style, urging the crowd of 1,700 to “remain hopeful and optimistic, but maybe not for tomorrow.”\u003c/p>\n\u003cfigure id=\"attachment_12646918\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12646918 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg\" alt=\"Young, Gifted, and Black grabs the future at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Young, Gifted, and Black grabs the future at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And while invoking the fear of the near future, Kass asked us to embrace a different future in a different way. “Someone younger than you can be better than you,” Kass said. “We need a new narrative that speaks of justice, equity, and hope.” He wouldn’t be the last adult of the night to preach patience and cede the stage to the young.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Youth Speaks might be the only organization in the country where Moses is a job description. Yet it was clear that many of the young poets attached to the organization have never felt farther from the Promised Land, and that for them hope not only is, but also must be a political and social weapon. When performer Grace Mwambe calmly declared: “Her lungs opened like a dozen fired bullets/And amidst all that silent war/I felt joy/Black joy,” I sensed a young woman battling to hold on to something as basic as happiness. And even in the face of her affirmations, how awful it is that that should be so.\u003c/p>\n\u003cp>Similarly, when Shivani Narang spoke the words, “The only spiritual I know is our resilience and my friends’ hearts,” she laid down a poetics as radical as that of the first modernists. “So, tonight let this poem be grounded in love and let this poem be named dangerous,” Narang declared. And that’s a kind of brilliant encapsulation of \u003cem>Bringing the Noise — \u003c/em>it strives to give an aesthetic and civic representation to King’s belief in love as a political reality.\u003c/p>\n\u003cfigure id=\"attachment_12647118\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647118\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/another-try.jpg\" alt=\"Shivani Narang stakes out a radical poetics at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"425\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-375x214.jpg 375w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Shivani Narang stakes out a radical poetics at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We know that the poets have understood this call to action from the way in which they seek out beauty even under vicious and fraught conditions. The most outrageous moment of the night came when Trey Amos lay on the expansive Nourse Theater stage and got his hair done as he languidly imagined how easy it would be to embrace violence: “With all the flames you see, they should thank you for not burning everything to the ground,” he said. “Instead you place the inferno in your thighs — TO MOVE — no backing down/And continue picking your afro crown.”\u003c/p>\n\u003cp>There have been hundreds of celebrations of black hair. But none I know of until now where the shaping of an Afro quells the impulse to lash back. It’s as if Bigger Thomas in Richard Wright’s \u003cem>Native Son\u003c/em> chose his own beauty over murder. Yet throughout the evening the threat of violence was a sickening reality. Here is the future and the future is afraid of being erased. And “erased” might be too soft a word, and definitely too soft an action to describe what’s going on around us.\u003c/p>\n\u003cp>Youth Speaks has taught countless young people to value what they have to say, what they see and hear around them, their minds and the ability to speak uncomfortable truths with joy and care. They are the living embodiment of hundreds of caring adults (who kindly take on the role of Moses) and now they are under political and social conditions that constantly place them in peril. The Promised Land seems as elusive to this generation as the one before it.\u003c/p>\n\u003cfigure id=\"attachment_12647113\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg\" alt=\"Javon Johnson compares gentrification to cancer in 'Bringing the Noise' at the Nourse Auditorium.\" width=\"427\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-375x212.jpg 375w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Javon Johnson compares gentrification to cancer in ‘Bringing the Noise’ at the Nourse Theater. \u003ccite>(Photo: Bathanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s one more thing to say, which also points to a complicated future. Poem after poem I heard on stage caught this basic fact: In America blackness is an explosive identity. Everything it touches, it transforms — why else did the “\u003ca href=\"https://en.wikipedia.org/wiki/One-drop_rule\" target=\"_blank\" rel=\"noopener\">one-drop rule\u003c/a>” survive for so long? — and there’s not a white, queer, Latino, Asian, or any non-Black person on that stage who doesn’t understand this reality. What’s wonderful is that it’s accepted and seen as redemptive by everyone present. It’s a source of focus and hope.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are many reasons for Trump. One of them is a \u003ca href=\"http://www.cnn.com/2016/11/09/politics/van-jones-results-disappointment-cnntv/\" target=\"_blank\" rel=\"noopener\">whitelash\u003c/a>, a fear of contamination of what the “real” America is and is becoming. So when these young poets talk about skin and the varieties of skin tone, there’s a realization that they are all moving towards the one color that contains them all. As performer Tova Ricardo so aptly stated in her poem: “Black is not one color/Black is not one place/It’s shifting and styling under the grins of society’s eyes.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aIjjB2KLCJQ\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jiXy25ejFzU\u003c/p>\n\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hL28CrEaOsE\u003c/p>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The Do List this week features writers on Trump, retro soul, and an activist dance brigade.",
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"title": "Cy and David's Picks: Love in Bitter Times, Corporatizing the Unthinkable, and Writers on Trump | KQED",
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"headline": "Cy and David's Picks: Love in Bitter Times, Corporatizing the Unthinkable, and Writers on Trump",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" 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/aIjjB2KLCJQ'\n title='//www.youtube.com/embed/aIjjB2KLCJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" 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/jiXy25ejFzU'\n title='//www.youtube.com/embed/jiXy25ejFzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" 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/hL28CrEaOsE'\n title='//www.youtube.com/embed/hL28CrEaOsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">Thrillpeddlers,\u003c/a> the South of Market theater company that has specialized in horror and high camp for 26 years, will likely produce its last show in February. Russell Blackwood, the company founder and producing director, learned on New Year’s Day that the owners of the Hypnodrome, Thrillpeddlers’ custom built theater, had sold the building.\u003c/p>\n\u003cp>The new owner, Blackwood said, runs a furniture showroom which was recently priced out of the San Francisco Design Center.\u003c/p>\n\u003cp>Thrillpeddlers specializes in revivals of gory 19th century \u003ca href=\"https://en.wikipedia.org/wiki/Grand_Guignol\" target=\"_blank\" rel=\"noopener\">Grand Guignol plays\u003c/a>, which often spatter fake blood on audience members, alongside revivals of work first produced by the \u003ca href=\"http://www.cockettes.com/\" target=\"_blank\" rel=\"noopener\">Cockettes,\u003c/a> a drag theater troupe founded in the 1970s. “There is an underground aspect, and a sex-positive aspect that belonged South of Market and in the Folsom,” Blackwood says.\u003c/p>\n\u003cp>But despite the gory and sexually-charged content of most of the company’s shows, Blackwood aims to be inclusive. “I saw this as being a community theater,” he says.\u003c/p>\n\u003cfigure id=\"attachment_12604268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12604268 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg\" alt=\"Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers \u003ccite>(Photo: David Allen/Thrillpeddlers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blackwood also runs a kids’ theater workshop, \u003cem>Creepshow Camp\u003c/em>, to teach younger devotees how to stage science fiction and horror shows of their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the company’s sole employee, Blackwood says he’s not sure he wants to keep Thrillpeddlers going if it means moving to another space. He loves the intimacy of the 45-seat Hypnodrome. And he says he’s equipped the theater with special features designed to frighten audiences at the company’s annual Halloween \u003cem>Shocktoberfest\u003c/em> shows, including a realistic-looking guillotine.\u003c/p>\n\u003cp>Blackwood isn’t mad at his landlords. “These gentlemen are our benefactors,” He says. “The rent was always well below market rate, and their relationship with us has been like family.”\u003c/p>\n\u003cp>Thrillpeddlers is going out in typical style with a series of nude readings of the fantastical writings of H. P. Lovecraft — \u003cem>\u003ca href=\"http://www.hypnodrome.org/\" target=\"_blank\" rel=\"noopener\">Naked Dudes Reading Lovecraft\u003c/a> — \u003c/em>and a semi-staged concert of the new musical \u003cem>Amazon Apocalypse — or How the Devil Came to Save the Planet\u003c/em>, plus two benefit variety shows and a rummage sale of props and costumes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked for an epitaph for the company, Blackwood says he’d like the Thrillpeddlers tombstone to say, “They were the San Francisco you moved here to meet.”\u003c/p>\n\n",
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"excerpt": "After 26 years of enjoying Grand Guignol productions under a SOMA flyover, fans of camp and horror are losing their favorite theater company in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">Thrillpeddlers,\u003c/a> the South of Market theater company that has specialized in horror and high camp for 26 years, will likely produce its last show in February. Russell Blackwood, the company founder and producing director, learned on New Year’s Day that the owners of the Hypnodrome, Thrillpeddlers’ custom built theater, had sold the building.\u003c/p>\n\u003cp>The new owner, Blackwood said, runs a furniture showroom which was recently priced out of the San Francisco Design Center.\u003c/p>\n\u003cp>Thrillpeddlers specializes in revivals of gory 19th century \u003ca href=\"https://en.wikipedia.org/wiki/Grand_Guignol\" target=\"_blank\" rel=\"noopener\">Grand Guignol plays\u003c/a>, which often spatter fake blood on audience members, alongside revivals of work first produced by the \u003ca href=\"http://www.cockettes.com/\" target=\"_blank\" rel=\"noopener\">Cockettes,\u003c/a> a drag theater troupe founded in the 1970s. “There is an underground aspect, and a sex-positive aspect that belonged South of Market and in the Folsom,” Blackwood says.\u003c/p>\n\u003cp>But despite the gory and sexually-charged content of most of the company’s shows, Blackwood aims to be inclusive. “I saw this as being a community theater,” he says.\u003c/p>\n\u003cfigure id=\"attachment_12604268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12604268 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg\" alt=\"Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers \u003ccite>(Photo: David Allen/Thrillpeddlers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blackwood also runs a kids’ theater workshop, \u003cem>Creepshow Camp\u003c/em>, to teach younger devotees how to stage science fiction and horror shows of their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the company’s sole employee, Blackwood says he’s not sure he wants to keep Thrillpeddlers going if it means moving to another space. He loves the intimacy of the 45-seat Hypnodrome. And he says he’s equipped the theater with special features designed to frighten audiences at the company’s annual Halloween \u003cem>Shocktoberfest\u003c/em> shows, including a realistic-looking guillotine.\u003c/p>\n\u003cp>Blackwood isn’t mad at his landlords. “These gentlemen are our benefactors,” He says. “The rent was always well below market rate, and their relationship with us has been like family.”\u003c/p>\n\u003cp>Thrillpeddlers is going out in typical style with a series of nude readings of the fantastical writings of H. P. Lovecraft — \u003cem>\u003ca href=\"http://www.hypnodrome.org/\" target=\"_blank\" rel=\"noopener\">Naked Dudes Reading Lovecraft\u003c/a> — \u003c/em>and a semi-staged concert of the new musical \u003cem>Amazon Apocalypse — or How the Devil Came to Save the Planet\u003c/em>, plus two benefit variety shows and a rummage sale of props and costumes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked for an epitaph for the company, Blackwood says he’d like the Thrillpeddlers tombstone to say, “They were the San Francisco you moved here to meet.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"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",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"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.",
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"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",
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"order": 11
},
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"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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"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",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"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",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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