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"content": "\u003cp>Marc Bamuthi Joseph was a commanding presence at this year’s \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Black Choreographer’s Festival\u003c/a> in San Francisco.\u003c/p>\n\u003cp>In addition to performing \u003cem>pe-LO-tah\u003c/em>, the dance theater piece about global politics and soccer he premiered last fall, the spoken word artist and \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> curator shared his new monologue about life under President Trump at the three-weekend-long event.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Black Choreographer's Festival - Marc Bamuthi Joseph "100 Days Drumpf"\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/92aQdf9IFys?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“The first one hundred days after your heart has been snapped,” Joseph says at the start of his five-minute-long piece. “No. The first hundred days after you spend the first three days crying, after your heart’s been snapped: You’re out of tears, but you feel their echo in your body. You’re vulnerable and out of touch with order, and just hella angry. This president gives me a ‘just got my heart snapped’ feeling.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marc Bamuthi Joseph’s essay for KQED, ‘My Art is Not a Bridge–It’s a Battery,’ can be read \u003ca href=\"https://ww2.kqed.org/arts/2017/01/27/my-art-is-not-a-bridge-its-a-battery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read John Wilkins’ review of ‘pe-LO-tah’ and other Black Choreographers Festival highlights \u003ca href=\"https://ww2.kqed.org/arts/2017/02/23/black-choreographers-festival-points-to-black-bodies-in-crisis/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marc Bamuthi Joseph was a commanding presence at this year’s \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Black Choreographer’s Festival\u003c/a> in San Francisco.\u003c/p>\n\u003cp>In addition to performing \u003cem>pe-LO-tah\u003c/em>, the dance theater piece about global politics and soccer he premiered last fall, the spoken word artist and \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> curator shared his new monologue about life under President Trump at the three-weekend-long event.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Black Choreographer's Festival - Marc Bamuthi Joseph "100 Days Drumpf"\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/92aQdf9IFys?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“The first one hundred days after your heart has been snapped,” Joseph says at the start of his five-minute-long piece. “No. The first hundred days after you spend the first three days crying, after your heart’s been snapped: You’re out of tears, but you feel their echo in your body. You’re vulnerable and out of touch with order, and just hella angry. This president gives me a ‘just got my heart snapped’ feeling.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marc Bamuthi Joseph’s essay for KQED, ‘My Art is Not a Bridge–It’s a Battery,’ can be read \u003ca href=\"https://ww2.kqed.org/arts/2017/01/27/my-art-is-not-a-bridge-its-a-battery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read John Wilkins’ review of ‘pe-LO-tah’ and other Black Choreographers Festival highlights \u003ca href=\"https://ww2.kqed.org/arts/2017/02/23/black-choreographers-festival-points-to-black-bodies-in-crisis/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "do-list-musical-notes-from-native-california-trance-blues-and-bell-x1s-high-flying-pop",
"title": "Cy and David's Picks: Musical Notes from Native California, Trance Blues, and Bell X1's High-Flying Pop",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170224.mp3\u003c/p>\n\u003cp>The list is long this week for amazing stuff we couldn’t fit in the show. Yiddish songbird \u003ca href=\"http://www.heatherklein.net/\" target=\"_blank\" rel=\"noopener\">Heather Klein\u003c/a> premieres \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale/\" target=\"_blank\" rel=\"noopener\">her new one–woman musical, \u003cem>Shanghai Angel\u003c/em>\u003c/a>, about her grandmother’s emigration from Austria to Shanghai to America through Angel Island. It’s Feb. 26\u003ca href=\"https://www.thecjm.org/programs/55\" target=\"_blank\" rel=\"noopener\"> at the Contemporary Jewish Museum.\u003c/a> \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">Naatak \u003c/a>opens the very timely play \u003cem>Airport Insecurity, \u003c/em>a Trump-esque tale of an Indian techie stuck at an airport in immigration limbo. It’s \u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">at the Cubberley Community Center in Palo Alto\u003c/a>, running Feb. 24-March 4. And for the ultimate in cool and classical, \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates \u003c/a>DJs and directs one of his\u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.mercurysoul.org/\" target=\"_blank\" rel=\"noopener\"> Mercury Soul \u003c/a>shows on Feb. 24, called \u003cem>Baroque & Beats\u003c/em> at the \u003ca href=\"https://www.dnalounge.com/calendar/2017/02-24.html\" target=\"_blank\" rel=\"noopener\">DNA Lounge\u003c/a>. Now for the show.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0TJPYb1KxXc\u003c/p>\n\u003cp>\u003cstrong>Feb. 24–25\u003c/strong>: \u003ca href=\"https://www.otistaylor.com/index.html\" target=\"_blank\" rel=\"noopener\">Otis Taylor\u003c/a>’s new album, \u003cem>Fantasizing about Being Black,\u003c/em> is about the history of the African American experience, from the slave ships to the Mississippi Delta, and the blues music that was born of those influences. Taylor has always recognized that the blues are a form of protest music, and there’s plenty of comment here on the racism that endures in America today. He’s got a great band, too, with Anne Harris on violin. Details for his two shows at Biscuits and Blues are \u003ca href=\"http://biscuitsandblues.com/otistaylorband\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg\" alt=\"Monet's 'Pointe de la Heve.' part of the exhibition at the Legion of Honor in San Francisco\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1020x601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve.jpg 1523w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monet’s ‘Pointe de la Heve.’ part of the exhibition at the Legion of Honor in San Francisco. \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 28–May 29:\u003c/strong> The French painter \u003ca href=\"http://www.sfgate.com/local/article/Monet-comes-to-San-Francisco-s-Legion-of-Honor-10921548.php\" target=\"_blank\" rel=\"noopener\">Claude Monet \u003c/a>is most famous for his huge water lily paintings, done late in life. But we get a new perspective on the French artist in a show coming to the Legion of Honor called \u003cem>Monet: the Early Years,\u003c/em> with 60 paintings demonstrating a period in the mid-19th century when the artist was part of a generation re-inventing painting. “I didn’t become an impressionist,” the catalog quotes Monet. “As long as I can remember I always have been one.” He was always, as well, a master of color and a lover of landscapes. What a treat to see this first major U.S. exhibition devoted to Monet’s early works. Details for the show are \u003ca href=\"https://legionofhonor.famsf.org/monet-early-yearsand\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/002-800x600.jpg\" alt=\"Kanyon Sayers Rood sings with the Oakland Symphony in its program 'Notes from Native California'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers Rood sings with the Oakland Symphony in its program ‘Notes from Native California.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24\u003c/strong>: The Oakland Symphony is presenting its annual concert celebrating world music traditions, and this year Conductor Michael Morgan sticks close to home with a program called \u003cem>Notes from Native California\u003c/em>. Among the pieces is \u003cem>Big Sur: The Night Sun\u003c/em>, by John Wineglass, featuring the voice of Ohlone/Chumash singer \u003ca href=\"http://nativenewsonline.net/currents/ohlonechumash-artist-kanyon-sayers-roods-exhibits-gathering-tribes/\" target=\"_blank\" rel=\"noopener\">Kanyon Sayers-Roods\u003c/a>, whose amazing soprano voice I first heard a few weeks ago at the \u003ca href=\"https://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House \u003c/a>in Oakland. Sayers-Roods told me she makes up her own songs, and quotes her mom on how they’re not traditional, but still authentic. “My mother goes, ‘That is spirit. Those are our ancestors speaking through you. That is your culture being awakened. That is truth,'” Sayers-Roods said. “Because my mother and my grandmother have always shared a quote, ‘When song, ceremony and dance stop, so does the earth,’ and I too believe that.” She’s just one of the highlights for a concert that also features Shostakovitch’s Ninth Symphony. \u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/115441535\u003c/p>\n\u003cp>\u003cstrong>Feb. 24–March 3\u003c/strong>: There’s a category called CNN Opera, describing a musical about a modern political event or movement. Think \u003cem>\u003ca href=\"https://www.earbox.com/the-death-of-klinghoffer/\" target=\"_blank\" rel=\"noopener\">The Death of Klinghoffer\u003c/a>\u003c/em> by John Adams and Alice Goodman, or \u003ca href=\"https://en.wikipedia.org/wiki/X,_The_Life_and_Times_of_Malcolm_X\" target=\"_blank\" rel=\"noopener\">\u003cem>The Life and Times of Malcolm X\u003c/em>\u003c/a> by Anthony Davis. Now added to that list is \u003cem>The Source\u003c/em>, from 2016, about soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html?_r=0\" target=\"_blank\" rel=\"noopener\">Chelsea Manning\u003c/a>’s decision to disclose \u003ca href=\"http://www.newsweek.com/chelsea-manning-real-legacy-increased-surveillance-548666\" target=\"_blank\" rel=\"noopener\">hundreds of thousands of classified and sensitive documents to WikiLeaks\u003c/a>, her courtmartial, and her sex reassignment surgery. Composer Ted Hearne, who teaches composition at U.S.C., and librettist Mark Doten have created a kind of pop collage out of vocal, instrumental, and recorded sounds sung by a group of vocalists using a lot of autotune. The story is all the more compelling after former President Barack Obama’s pardoning of Manning. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">Details for the show at the San Francisco Opera Lab are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xa78BMHajPM\u003c/p>\n\u003cp>\u003cstrong>Feb. 28: \u003c/strong>The \u003ca href=\"https://www.youtube.com/watch?v=OHpzQr-2xeo\" target=\"_blank\" rel=\"noopener\">Bell X-1\u003c/a> was the first plane to break the sound barrier, and the name also inspired a group of young rockers from Ireland. Bell X1 make lovely danceable pop and gorgeous ballads. They write smart lyrics, mixing the personal with the political on song like “Sons and Daughters,” asking future generations for forgiveness for the mistakes of the present — and on “The End is Nigh,” they ask “Will the wrong guy get the codes,” which seems an apt question for Europeans worried about our election of President Donald Trump. San Francisco is the last stop on a short U.S. Tour for the Bell X1, before they return to their home base in Dublin, Ireland. Details for their show at \u003ca href=\"http://www.thechapelsf.com/event/1385118-bell-x1-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel in San Francisco are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sZTXN084yTw\u003c/p>\n\u003cp>\u003cstrong>Feb. 28–March 2:\u003c/strong> We squeezed in a pair of shoutouts as well. David picked former Bay Area resident \u003ca href=\"http://www.billhayes.com/\" target=\"_blank\" rel=\"noopener\">Bill Hayes\u003c/a>, who returns to read from his new memoir \u003ca href=\"http://www.bloomsbury.com/us/insomniac-city-9781620404959/\" target=\"_blank\" rel=\"noopener\">\u003cem>Insomniac City\u003c/em>\u003c/a>, focusing on his love affair with both New York City and the late author and psychiatrist Oliver Sacks. Hayes reads at Mrs. Dalloway’s in Berkeley on Feb. 28, at Rakestraw Books in Danville on March 1, and Book Passage in San Francisco on March 2. Details for all appearances \u003ca href=\"http://www.billhayes.com/events/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 25–26\u003c/strong>: And I champion the \u003ca href=\"http://villalobosbrothers.com/\" target=\"_blank\" rel=\"noopener\">Villalobos Brothers\u003c/a>, a marvelous band of violinists playing jazz and Mexican roots music. They’re part of \u003ca href=\"https://sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest on \u003c/a>Feb. 25, and at \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight & Salvage \u003c/a>on Feb. 26. \u003ca href=\"http://villalobosbrothers.com/tour/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170224.mp3\u003c/p>\n\u003cp>The list is long this week for amazing stuff we couldn’t fit in the show. Yiddish songbird \u003ca href=\"http://www.heatherklein.net/\" target=\"_blank\" rel=\"noopener\">Heather Klein\u003c/a> premieres \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale/\" target=\"_blank\" rel=\"noopener\">her new one–woman musical, \u003cem>Shanghai Angel\u003c/em>\u003c/a>, about her grandmother’s emigration from Austria to Shanghai to America through Angel Island. It’s Feb. 26\u003ca href=\"https://www.thecjm.org/programs/55\" target=\"_blank\" rel=\"noopener\"> at the Contemporary Jewish Museum.\u003c/a> \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">Naatak \u003c/a>opens the very timely play \u003cem>Airport Insecurity, \u003c/em>a Trump-esque tale of an Indian techie stuck at an airport in immigration limbo. It’s \u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">at the Cubberley Community Center in Palo Alto\u003c/a>, running Feb. 24-March 4. And for the ultimate in cool and classical, \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates \u003c/a>DJs and directs one of his\u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.mercurysoul.org/\" target=\"_blank\" rel=\"noopener\"> Mercury Soul \u003c/a>shows on Feb. 24, called \u003cem>Baroque & Beats\u003c/em> at the \u003ca href=\"https://www.dnalounge.com/calendar/2017/02-24.html\" target=\"_blank\" rel=\"noopener\">DNA Lounge\u003c/a>. Now for the show.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0TJPYb1KxXc'\n title='//www.youtube.com/embed/0TJPYb1KxXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 24–25\u003c/strong>: \u003ca href=\"https://www.otistaylor.com/index.html\" target=\"_blank\" rel=\"noopener\">Otis Taylor\u003c/a>’s new album, \u003cem>Fantasizing about Being Black,\u003c/em> is about the history of the African American experience, from the slave ships to the Mississippi Delta, and the blues music that was born of those influences. Taylor has always recognized that the blues are a form of protest music, and there’s plenty of comment here on the racism that endures in America today. He’s got a great band, too, with Anne Harris on violin. Details for his two shows at Biscuits and Blues are \u003ca href=\"http://biscuitsandblues.com/otistaylorband\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg\" alt=\"Monet's 'Pointe de la Heve.' part of the exhibition at the Legion of Honor in San Francisco\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1020x601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve.jpg 1523w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monet’s ‘Pointe de la Heve.’ part of the exhibition at the Legion of Honor in San Francisco. \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 28–May 29:\u003c/strong> The French painter \u003ca href=\"http://www.sfgate.com/local/article/Monet-comes-to-San-Francisco-s-Legion-of-Honor-10921548.php\" target=\"_blank\" rel=\"noopener\">Claude Monet \u003c/a>is most famous for his huge water lily paintings, done late in life. But we get a new perspective on the French artist in a show coming to the Legion of Honor called \u003cem>Monet: the Early Years,\u003c/em> with 60 paintings demonstrating a period in the mid-19th century when the artist was part of a generation re-inventing painting. “I didn’t become an impressionist,” the catalog quotes Monet. “As long as I can remember I always have been one.” He was always, as well, a master of color and a lover of landscapes. What a treat to see this first major U.S. exhibition devoted to Monet’s early works. Details for the show are \u003ca href=\"https://legionofhonor.famsf.org/monet-early-yearsand\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/002-800x600.jpg\" alt=\"Kanyon Sayers Rood sings with the Oakland Symphony in its program 'Notes from Native California'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers Rood sings with the Oakland Symphony in its program ‘Notes from Native California.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24\u003c/strong>: The Oakland Symphony is presenting its annual concert celebrating world music traditions, and this year Conductor Michael Morgan sticks close to home with a program called \u003cem>Notes from Native California\u003c/em>. Among the pieces is \u003cem>Big Sur: The Night Sun\u003c/em>, by John Wineglass, featuring the voice of Ohlone/Chumash singer \u003ca href=\"http://nativenewsonline.net/currents/ohlonechumash-artist-kanyon-sayers-roods-exhibits-gathering-tribes/\" target=\"_blank\" rel=\"noopener\">Kanyon Sayers-Roods\u003c/a>, whose amazing soprano voice I first heard a few weeks ago at the \u003ca href=\"https://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House \u003c/a>in Oakland. Sayers-Roods told me she makes up her own songs, and quotes her mom on how they’re not traditional, but still authentic. “My mother goes, ‘That is spirit. Those are our ancestors speaking through you. That is your culture being awakened. That is truth,'” Sayers-Roods said. “Because my mother and my grandmother have always shared a quote, ‘When song, ceremony and dance stop, so does the earth,’ and I too believe that.” She’s just one of the highlights for a concert that also features Shostakovitch’s Ninth Symphony. \u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Feb. 24–March 3\u003c/strong>: There’s a category called CNN Opera, describing a musical about a modern political event or movement. Think \u003cem>\u003ca href=\"https://www.earbox.com/the-death-of-klinghoffer/\" target=\"_blank\" rel=\"noopener\">The Death of Klinghoffer\u003c/a>\u003c/em> by John Adams and Alice Goodman, or \u003ca href=\"https://en.wikipedia.org/wiki/X,_The_Life_and_Times_of_Malcolm_X\" target=\"_blank\" rel=\"noopener\">\u003cem>The Life and Times of Malcolm X\u003c/em>\u003c/a> by Anthony Davis. Now added to that list is \u003cem>The Source\u003c/em>, from 2016, about soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html?_r=0\" target=\"_blank\" rel=\"noopener\">Chelsea Manning\u003c/a>’s decision to disclose \u003ca href=\"http://www.newsweek.com/chelsea-manning-real-legacy-increased-surveillance-548666\" target=\"_blank\" rel=\"noopener\">hundreds of thousands of classified and sensitive documents to WikiLeaks\u003c/a>, her courtmartial, and her sex reassignment surgery. Composer Ted Hearne, who teaches composition at U.S.C., and librettist Mark Doten have created a kind of pop collage out of vocal, instrumental, and recorded sounds sung by a group of vocalists using a lot of autotune. The story is all the more compelling after former President Barack Obama’s pardoning of Manning. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">Details for the show at the San Francisco Opera Lab are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xa78BMHajPM'\n title='//www.youtube.com/embed/xa78BMHajPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 28: \u003c/strong>The \u003ca href=\"https://www.youtube.com/watch?v=OHpzQr-2xeo\" target=\"_blank\" rel=\"noopener\">Bell X-1\u003c/a> was the first plane to break the sound barrier, and the name also inspired a group of young rockers from Ireland. Bell X1 make lovely danceable pop and gorgeous ballads. They write smart lyrics, mixing the personal with the political on song like “Sons and Daughters,” asking future generations for forgiveness for the mistakes of the present — and on “The End is Nigh,” they ask “Will the wrong guy get the codes,” which seems an apt question for Europeans worried about our election of President Donald Trump. San Francisco is the last stop on a short U.S. Tour for the Bell X1, before they return to their home base in Dublin, Ireland. Details for their show at \u003ca href=\"http://www.thechapelsf.com/event/1385118-bell-x1-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel in San Francisco are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sZTXN084yTw'\n title='//www.youtube.com/embed/sZTXN084yTw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 28–March 2:\u003c/strong> We squeezed in a pair of shoutouts as well. David picked former Bay Area resident \u003ca href=\"http://www.billhayes.com/\" target=\"_blank\" rel=\"noopener\">Bill Hayes\u003c/a>, who returns to read from his new memoir \u003ca href=\"http://www.bloomsbury.com/us/insomniac-city-9781620404959/\" target=\"_blank\" rel=\"noopener\">\u003cem>Insomniac City\u003c/em>\u003c/a>, focusing on his love affair with both New York City and the late author and psychiatrist Oliver Sacks. Hayes reads at Mrs. Dalloway’s in Berkeley on Feb. 28, at Rakestraw Books in Danville on March 1, and Book Passage in San Francisco on March 2. Details for all appearances \u003ca href=\"http://www.billhayes.com/events/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 25–26\u003c/strong>: And I champion the \u003ca href=\"http://villalobosbrothers.com/\" target=\"_blank\" rel=\"noopener\">Villalobos Brothers\u003c/a>, a marvelous band of violinists playing jazz and Mexican roots music. They’re part of \u003ca href=\"https://sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest on \u003c/a>Feb. 25, and at \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight & Salvage \u003c/a>on Feb. 26. \u003ca href=\"http://villalobosbrothers.com/tour/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-frankenstein-ballet-noise-pop-and-shack-shakers",
"title": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers",
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"headTitle": "Cy and David’s Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers | KQED",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/308119957″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Tough choices this week for the radio show. We barely had room for the \u003ca href=\"http://bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">12th Annual Bay Area Flamenco Festival\u003c/a>, run by Nina Menendez. She always puts on great shows, like the Feb. 19 concert featuring José Maya with his newest work \u003cem>Latente\u003c/em>, at the Herbst Theater. The Festival continues through Feb. 25 with shows in San Francisco and Oakland. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ta8GWrxUX34\u003c/p>\n\u003cp>\u003cstrong>Feb. 17 & 18:\u003c/strong> The Legendary Shack Shakers is the brainchild of J.D. Wilkes out of Paducah, Kentucky. He’s a harmonica player who sometimes strips off his shirt on stage — a somewhat punk move, but the music is deeply rooted in country and jump blues. We would call it rockabilly, but Wilkes hates that term. Doesn’t matter. It’s great music, and Wilkes is a renaissance man, with a novel out soon about the invasive plant \u003ca href=\"https://en.wikipedia.org/wiki/Kudzu\" target=\"_blank\" rel=\"noopener\">kudzu,\u003c/a> called \u003cem>The Vine That Ate the South\u003c/em>. Catch them at \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose (\u003ca href=\"http://www.ticketfly.com/event/1310927-legendary-shack-shakers-san-jose/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), or Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7013915&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12776487\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12776487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg\" alt=\"Georgia Engel stars in Annie Baker's Pulitzer Prize winning play 'John', opening Feb. 22 at the Strand Theater \" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Engel stars in Annie Baker’s Pulitzer Prize winning play ‘John,’ opening Feb. 22 at the Strand Theater. \u003ccite>(Photo: Michael Murphy/Signature Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 22–April 23\u003c/strong>: \u003ca href=\"http://newdramatists.org/annie-baker\" target=\"_blank\" rel=\"noopener\">Annie Baker\u003c/a> writes haunting plays in which sometimes, not much is happening. Yet she holds an audience with her deep insights into the meaning of relationships. \u003cem>John\u003c/em> is her enthusiastically reviewed, Obie Award-winning play from 2015 about a disintegrating marriage. It’s set at a bed and breakfast in Gettysburg, and explores the relationship that develops between the wife and the landlady at the B&B. It features the great actress \u003ca href=\"https://www.nytimes.com/2015/08/29/theater/georgia-engel-a-mary-tyler-moore-show-sidekick-takes-a-star-turn.html\" target=\"_blank\" rel=\"noopener\">Georgia Engel\u003c/a> (of \u003cem>The Mary Tyler Moore Show\u003c/em> and \u003cem>Everybody Loves Raymond\u003c/em>) as the landlady. Back in 2012, we had a mini-fest of Baker plays, with \u003cem>Aliens\u003c/em> at SF Playhouse, \u003cem>Body Awareness\u003c/em> at the Aurora, and \u003cem>Circle Mirror Transformation \u003c/em>at Marin Theatre Company. We’re so glad Baker is back in this American Conservatory Theater production at the Strand. \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/john.html\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ZJJsvlrDqg\u003c/p>\n\u003cp>\u003cstrong>Feb. 17: \u003c/strong>Bay Area singer-songwriter \u003ca href=\"http://rachelefron.com/\" target=\"_blank\" rel=\"noopener\">Rachel Efron \u003c/a>has a small, high voice that, according to a review by my co-host David Wiegand, “hooks you by the heart.” This week, she teams up with Ira Marlowe, another under-appreciated Bay Area singer-songwriter, for a show they’re calling \u003cem>Gods and Monsters\u003c/em>. It’s a musical exploration which promises to be less horror movie, and more about the way “we make gods and monsters of each other.” Sounds like modern politics. Details for their show at the Monkey House in Berkeley are \u003ca href=\"https://www.evensi.us/gods-amp-monsters-two-songwriters-plumb-the-dark-amp-the/199473780\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>cheap thrill\u003c/strong>, with tickets as low as $10.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vrxM-jPOFQo\u003c/p>\n\u003cp>\u003cstrong>Feb. 17–26:\u003c/strong> Mary Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is almost 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity. Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story. It opened last year in London, and now Scarlett is overseeing a new production for the San Francisco Ballet. I asked Scarlett how he gets this awkward creature, assembled from ill-fitting parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett told me backstage during a break from rehearsal. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.” Details for this San Francisco Ballet co-commission at the San Francisco Opera House are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bn15IvVrprw\u003c/p>\n\u003cp>\u003cstrong>Feb. 17–26\u003c/strong>: The Noise Pop Festival, San Francisco’s indie music and arts fest, is 25 years old and hitting its prime. What started as six bands for five bucks at on a single night has grown into a music and film festival with more than 150 acts at venues in San Francisco and Oakland. There’s still an emphasis on local bands like Rogue Wave, Hot Flash Heat Wave and Ty Segall, but you can also catch Long Beach hip-hop star Vince Staples, the Joy Formidable, MSTRKRFT, plus Michelle Zauner’s Japanese Breakfast. Plus movies — including \u003cem>Hired Gun\u003c/em>, about the anonymous virtuosos who join bands for recording sessions and concerts, and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">The Resurrection of Victor Jara\u003c/a>\u003c/em>, about the beloved radical Chilean folk singer. Read recommendations by KQED Arts Music Editor Emma Silvers of \u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/five-great-noise-pop-shows-that-arent-sold-out/\" target=\"_blank\" rel=\"noopener\">shows that aren’t yet sold out here\u003c/a>, and see details for all Noise Pop shows \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kYLHKpAl1vs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Annie Baker's 'John' at A.C.T., Rachel Efron and Ira Marlowe's 'Gods & Monsters' in Berkeley, 'Frankenstein' at SF Ballet and more round out this week's recommendations.",
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"title": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers | KQED",
"description": "Annie Baker's 'John' at A.C.T., Rachel Efron and Ira Marlowe's 'Gods & Monsters' in Berkeley, 'Frankenstein' at SF Ballet and more round out this week's recommendations.",
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"headline": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/308119957″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/308119957″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tough choices this week for the radio show. We barely had room for the \u003ca href=\"http://bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">12th Annual Bay Area Flamenco Festival\u003c/a>, run by Nina Menendez. She always puts on great shows, like the Feb. 19 concert featuring José Maya with his newest work \u003cem>Latente\u003c/em>, at the Herbst Theater. The Festival continues through Feb. 25 with shows in San Francisco and Oakland. Now here’s the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ta8GWrxUX34'\n title='//www.youtube.com/embed/ta8GWrxUX34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17 & 18:\u003c/strong> The Legendary Shack Shakers is the brainchild of J.D. Wilkes out of Paducah, Kentucky. He’s a harmonica player who sometimes strips off his shirt on stage — a somewhat punk move, but the music is deeply rooted in country and jump blues. We would call it rockabilly, but Wilkes hates that term. Doesn’t matter. It’s great music, and Wilkes is a renaissance man, with a novel out soon about the invasive plant \u003ca href=\"https://en.wikipedia.org/wiki/Kudzu\" target=\"_blank\" rel=\"noopener\">kudzu,\u003c/a> called \u003cem>The Vine That Ate the South\u003c/em>. Catch them at \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose (\u003ca href=\"http://www.ticketfly.com/event/1310927-legendary-shack-shakers-san-jose/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), or Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7013915&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12776487\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12776487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg\" alt=\"Georgia Engel stars in Annie Baker's Pulitzer Prize winning play 'John', opening Feb. 22 at the Strand Theater \" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Engel stars in Annie Baker’s Pulitzer Prize winning play ‘John,’ opening Feb. 22 at the Strand Theater. \u003ccite>(Photo: Michael Murphy/Signature Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 22–April 23\u003c/strong>: \u003ca href=\"http://newdramatists.org/annie-baker\" target=\"_blank\" rel=\"noopener\">Annie Baker\u003c/a> writes haunting plays in which sometimes, not much is happening. Yet she holds an audience with her deep insights into the meaning of relationships. \u003cem>John\u003c/em> is her enthusiastically reviewed, Obie Award-winning play from 2015 about a disintegrating marriage. It’s set at a bed and breakfast in Gettysburg, and explores the relationship that develops between the wife and the landlady at the B&B. It features the great actress \u003ca href=\"https://www.nytimes.com/2015/08/29/theater/georgia-engel-a-mary-tyler-moore-show-sidekick-takes-a-star-turn.html\" target=\"_blank\" rel=\"noopener\">Georgia Engel\u003c/a> (of \u003cem>The Mary Tyler Moore Show\u003c/em> and \u003cem>Everybody Loves Raymond\u003c/em>) as the landlady. Back in 2012, we had a mini-fest of Baker plays, with \u003cem>Aliens\u003c/em> at SF Playhouse, \u003cem>Body Awareness\u003c/em> at the Aurora, and \u003cem>Circle Mirror Transformation \u003c/em>at Marin Theatre Company. We’re so glad Baker is back in this American Conservatory Theater production at the Strand. \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/john.html\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5ZJJsvlrDqg'\n title='//www.youtube.com/embed/5ZJJsvlrDqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17: \u003c/strong>Bay Area singer-songwriter \u003ca href=\"http://rachelefron.com/\" target=\"_blank\" rel=\"noopener\">Rachel Efron \u003c/a>has a small, high voice that, according to a review by my co-host David Wiegand, “hooks you by the heart.” This week, she teams up with Ira Marlowe, another under-appreciated Bay Area singer-songwriter, for a show they’re calling \u003cem>Gods and Monsters\u003c/em>. It’s a musical exploration which promises to be less horror movie, and more about the way “we make gods and monsters of each other.” Sounds like modern politics. Details for their show at the Monkey House in Berkeley are \u003ca href=\"https://www.evensi.us/gods-amp-monsters-two-songwriters-plumb-the-dark-amp-the/199473780\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>cheap thrill\u003c/strong>, with tickets as low as $10.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vrxM-jPOFQo'\n title='//www.youtube.com/embed/vrxM-jPOFQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17–26:\u003c/strong> Mary Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is almost 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity. Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story. It opened last year in London, and now Scarlett is overseeing a new production for the San Francisco Ballet. I asked Scarlett how he gets this awkward creature, assembled from ill-fitting parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett told me backstage during a break from rehearsal. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.” Details for this San Francisco Ballet co-commission at the San Francisco Opera House are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bn15IvVrprw'\n title='//www.youtube.com/embed/bn15IvVrprw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17–26\u003c/strong>: The Noise Pop Festival, San Francisco’s indie music and arts fest, is 25 years old and hitting its prime. What started as six bands for five bucks at on a single night has grown into a music and film festival with more than 150 acts at venues in San Francisco and Oakland. There’s still an emphasis on local bands like Rogue Wave, Hot Flash Heat Wave and Ty Segall, but you can also catch Long Beach hip-hop star Vince Staples, the Joy Formidable, MSTRKRFT, plus Michelle Zauner’s Japanese Breakfast. Plus movies — including \u003cem>Hired Gun\u003c/em>, about the anonymous virtuosos who join bands for recording sessions and concerts, and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">The Resurrection of Victor Jara\u003c/a>\u003c/em>, about the beloved radical Chilean folk singer. Read recommendations by KQED Arts Music Editor Emma Silvers of \u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/five-great-noise-pop-shows-that-arent-sold-out/\" target=\"_blank\" rel=\"noopener\">shows that aren’t yet sold out here\u003c/a>, and see details for all Noise Pop shows \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kYLHKpAl1vs'\n title='//www.youtube.com/embed/kYLHKpAl1vs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Christians' Isn't so Much a Play as a Strange, Brilliant Sermon",
"headTitle": "‘The Christians’ Isn’t so Much a Play as a Strange, Brilliant Sermon | KQED",
"content": "\u003cp>Lucas Hnath’s \u003cem>The Christians\u003c/em>, receiving its Bay Area premiere in a fine production under Bill English’s direction at \u003ca href=\"http://sfplayhouse.org/sfph/2016-2017-season/the-christians/\" target=\"_blank\" rel=\"noopener\">SF Playhouse\u003c/a>, starts with what seems to be a simple story. When a 17-year old Muslim boy runs into a burning grocery store and dies saving his seven-year old sister, his body shielding her from the flames, what happens to him? He’s a hero, of course. But what happens to his soul?\u003c/p>\n\u003cp>Pastor Paul thinks he knows what his flock thinks, and what Christians think more generally. He would like them to think otherwise — that this heroic young Muslim will not be going to hell but instead to heaven. And so in the sermon that opens the play, Paul cannily works the story into a larger one about the congregation’s financial status, the first time Paul met his wife, and the need for radical change.\u003c/p>\n\u003cp>We know that Paul is manipulating his congregants, that the way he constructs his sermon is designed to catch people off guard. His techniques include subtle threats (“There is a crack in the foundation of this church”), a subtle eroticism (“I have a powerful urge to communicate with you”), and declarations of strength (“We are no longer that kind of church”).\u003c/p>\n\u003cfigure id=\"attachment_12742366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12742366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg\" alt=\"(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet we overlook Paul’s machinations. After all, what he’s preaching is what we should believe: that all souls are equal, that goodness matters, and that it would be a sick injustice to entertain for even a moment that such a heroic young man should go to hell for simply not finding Christ. In a just world, Christ should find him.\u003c/p>\n\u003cp>One of the chief pleasures of \u003cem>The Christians\u003c/em> is that we’re not so much enmeshed in a drama, as we are in the drama of a theological debate. The play not only begins with a sermon, but also in tone and structure resembles a church service. There’s a full choir; an associate pastor, Joshua; a church elder, Jay; and Paul’s wife Elizabeth who leads a women’s bible study group. As in many churches, these leaders sit in a row before us and take their turns performing various aspects of the liturgy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What we know of the past is set up by Paul’s simple and direct narration of events: “And Brother Joshua says,” “And Elder Jay walks into my office,” “And I look at my wife and say.” And then those scenes are reenacted, not realistically, but as they might be in a church service — kind of stilted, not quite dramatic, and with microphones. It’s a curiously moving effect, as if everyone is trying to contain the emotion that amplification threatens to unleash.\u003c/p>\n\u003cfigure id=\"attachment_12742364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742364 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg\" alt=\"(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>The Christians\u003c/em> is filled with scenes of high drama, its form and presentation — ably supported by a slew of excellent, understated performances — are low-key. Paul’s belief that his church must undergo a radical change roils everyone around him, and yet the proceedings remain polite and curiously distant. Hnath catches the way the rituals and temperament of the suburban Protestant Church demand a decency of spirit even when caught in the midst of overwhelming emotion.\u003c/p>\n\u003cp>Scenes that would normally descend into the melodramatic take on a complexity and richness that’s disconcerting. Associate pastor Joshua would be a classic villain in most American plays. He’s a moral scold, ambitious, and needlessly confrontational. And worse, his reaction to Paul’s sermon about the Muslim boy who dies saving his little sister, is that the boy will go to hell. Yet his belief in hell guides him to behave in ways that are truly exemplary.\u003c/p>\n\u003cp>The play ends with the possible dissolution of Paul and Elizabeth’s marriage, as they debate over the nature of Christ’s salvation. She too, like Joshua, refuses to give up on hell. It’s ludicrous to watch two people fight while carefully speaking into microphones and pretending to have a private conversation. But the aesthetic awkwardness is freeing.\u003c/p>\n\u003cfigure id=\"attachment_12742363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742363 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg\" alt=\"Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We aren’t watching a couple argue, but rather a careful reconstruction of that argument as an expression of ritual and faith. And because of this, we listen with great care and follow a set of conventions that aren’t so much dramatic, as they are about what it means to believe. These are people for whom Christ’s love and demands are real and so their personal drama is always at a remove. The real action is how to live in the face of such stringent and beautiful beliefs.\u003c/p>\n\u003cp>That’s a shocking achievement, and for this alone, \u003cem>The Christians\u003c/em> is worthy of our attention. It’s an impressive play all the way to the end — and then for some reason Hnath doesn’t finish the job. We never get to the end of the service and formal closure. What happens to Pastor Paul doesn’t matter, but the completion of the ritual does. Without that lens, the play’s ending feels like a rejection of everything the playwright has accomplished up to then. And I guess my most damning critique is that in its concluding moments, \u003cem>The Christians\u003c/em> feels like a play.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Christians’ runs through Saturday, Mar. 11 at SF Playhouse in San Francisco. For tickets and information \u003ca href=\"https://sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "When a 17-year old Muslim boy runs into a burning grocery store and dies saving his seven-year old sister, his body shielding her from the flames, what happens to him? He’s a hero, of course. But what happens to his soul?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lucas Hnath’s \u003cem>The Christians\u003c/em>, receiving its Bay Area premiere in a fine production under Bill English’s direction at \u003ca href=\"http://sfplayhouse.org/sfph/2016-2017-season/the-christians/\" target=\"_blank\" rel=\"noopener\">SF Playhouse\u003c/a>, starts with what seems to be a simple story. When a 17-year old Muslim boy runs into a burning grocery store and dies saving his seven-year old sister, his body shielding her from the flames, what happens to him? He’s a hero, of course. But what happens to his soul?\u003c/p>\n\u003cp>Pastor Paul thinks he knows what his flock thinks, and what Christians think more generally. He would like them to think otherwise — that this heroic young Muslim will not be going to hell but instead to heaven. And so in the sermon that opens the play, Paul cannily works the story into a larger one about the congregation’s financial status, the first time Paul met his wife, and the need for radical change.\u003c/p>\n\u003cp>We know that Paul is manipulating his congregants, that the way he constructs his sermon is designed to catch people off guard. His techniques include subtle threats (“There is a crack in the foundation of this church”), a subtle eroticism (“I have a powerful urge to communicate with you”), and declarations of strength (“We are no longer that kind of church”).\u003c/p>\n\u003cfigure id=\"attachment_12742366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12742366\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg\" alt=\"(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians7-e1486630349460.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Pastor Paul (Anthony Fusco) uses his power of persuasion on Jay (Warren David Keith) a church elder in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet we overlook Paul’s machinations. After all, what he’s preaching is what we should believe: that all souls are equal, that goodness matters, and that it would be a sick injustice to entertain for even a moment that such a heroic young man should go to hell for simply not finding Christ. In a just world, Christ should find him.\u003c/p>\n\u003cp>One of the chief pleasures of \u003cem>The Christians\u003c/em> is that we’re not so much enmeshed in a drama, as we are in the drama of a theological debate. The play not only begins with a sermon, but also in tone and structure resembles a church service. There’s a full choir; an associate pastor, Joshua; a church elder, Jay; and Paul’s wife Elizabeth who leads a women’s bible study group. As in many churches, these leaders sit in a row before us and take their turns performing various aspects of the liturgy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What we know of the past is set up by Paul’s simple and direct narration of events: “And Brother Joshua says,” “And Elder Jay walks into my office,” “And I look at my wife and say.” And then those scenes are reenacted, not realistically, but as they might be in a church service — kind of stilted, not quite dramatic, and with microphones. It’s a curiously moving effect, as if everyone is trying to contain the emotion that amplification threatens to unleash.\u003c/p>\n\u003cfigure id=\"attachment_12742364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742364 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg\" alt=\"(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians3-e1486630422663.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Associate Pastor Joshua (Lance Gardner) and Pastor Paul (Anthony Fusco) debate the meaning of salvation and hell in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>The Christians\u003c/em> is filled with scenes of high drama, its form and presentation — ably supported by a slew of excellent, understated performances — are low-key. Paul’s belief that his church must undergo a radical change roils everyone around him, and yet the proceedings remain polite and curiously distant. Hnath catches the way the rituals and temperament of the suburban Protestant Church demand a decency of spirit even when caught in the midst of overwhelming emotion.\u003c/p>\n\u003cp>Scenes that would normally descend into the melodramatic take on a complexity and richness that’s disconcerting. Associate pastor Joshua would be a classic villain in most American plays. He’s a moral scold, ambitious, and needlessly confrontational. And worse, his reaction to Paul’s sermon about the Muslim boy who dies saving his little sister, is that the boy will go to hell. Yet his belief in hell guides him to behave in ways that are truly exemplary.\u003c/p>\n\u003cp>The play ends with the possible dissolution of Paul and Elizabeth’s marriage, as they debate over the nature of Christ’s salvation. She too, like Joshua, refuses to give up on hell. It’s ludicrous to watch two people fight while carefully speaking into microphones and pretending to have a private conversation. But the aesthetic awkwardness is freeing.\u003c/p>\n\u003cfigure id=\"attachment_12742363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12742363 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg\" alt=\"Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath's 'The Christians' at the San Francisco Playhouse.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Kristians4-e1486630489130.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Paul (Anthony Fusco) and his wife Elizabeth (Stephanie Prentice) act out the possible dissolution of their marriage in Lucas Hnath’s ‘The Christians’ at the San Francisco Playhouse. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We aren’t watching a couple argue, but rather a careful reconstruction of that argument as an expression of ritual and faith. And because of this, we listen with great care and follow a set of conventions that aren’t so much dramatic, as they are about what it means to believe. These are people for whom Christ’s love and demands are real and so their personal drama is always at a remove. The real action is how to live in the face of such stringent and beautiful beliefs.\u003c/p>\n\u003cp>That’s a shocking achievement, and for this alone, \u003cem>The Christians\u003c/em> is worthy of our attention. It’s an impressive play all the way to the end — and then for some reason Hnath doesn’t finish the job. We never get to the end of the service and formal closure. What happens to Pastor Paul doesn’t matter, but the completion of the ritual does. Without that lens, the play’s ending feels like a rejection of everything the playwright has accomplished up to then. And I guess my most damning critique is that in its concluding moments, \u003cem>The Christians\u003c/em> feels like a play.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Christians’ runs through Saturday, Mar. 11 at SF Playhouse in San Francisco. For tickets and information \u003ca href=\"https://sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "california-kids-find-joy-community-in-junior-musicals",
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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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"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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"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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"headTitle": "Cy and David’s Picks: Themes from the ’60s, A Minimalist’s Birthday, and a Candy Ass | KQED",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>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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"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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"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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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"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": {
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"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?",
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"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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"perspectives": {
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"order": 14
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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.",
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"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",
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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",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"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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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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