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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170105.mp3\u003cbr>\n\u003c/aside>\n\u003cp>This week we feature the premiere of a new play from Oakland’s\u003ca href=\"http://www.lowerbottomplayaz.com\" target=\"_blank\" rel=\"noopener\"> Lower Bottom Playaz\u003c/a>, but there’s another scrappy little theater company making amazing work as it closes out its 2016 season. The \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players \u003c/a>in Berkeley are doing five shows in repertory, each one a winner. But their \u003cem>Hamlet\u003c/em> is a work of daredevil brilliance, with cast members learning which character they’ll play just before each performance. Catch them before the season ends on Jan. 15th.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dx-Mho3qU2I\u003c/p>\n\u003cp>\u003cstrong>Jan. 9–11\u003c/strong>: Rock ‘n’ roll lost some great performers this past year, but others are still going strong, like \u003ca href=\"http://www.midgeure.co.uk/\" target=\"_blank\" rel=\"noopener\">Midge Ure\u003c/a>, formerly of Thin Lizzy, Rich Kids, and Ultravox. He’s also one of the masterminds, with Bob Geldof, of Live Aid, and the co-writer of “Do They Know it’s Christmas” — a rock ‘n’ roll Zelig. His charity work earned him an Order of the British Empire, and we’re grateful he keeps performing, despite some serious hearing issues. Ure’s shows in the Bay Area include Jan. 9 at Harlow’s in Sacramento (details \u003ca href=\"http://www.harlows.com/event/1319815-midge-ure-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>); Jan. 10 at Petaluma’s Mystic Theatre (details \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6879695&pl=mystic\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>); and Jan. 11 at the Social Hall in San Francisco (details \u003ca href=\"http://www.socialhallsf.com/events/detail/314015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12585018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12585018 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg\" alt=\"Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of 'Mama at Twilight' at the Flight Deck in Oakland\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of ‘Mama at Twilight’ at the Flight Deck in Oakland. \u003ccite>(Photo: Tasin Sabir/Lower Bottom Playaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–29\u003c/strong>: The \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> is one of the groups keeping theater — and theater training — alive in Oakland (along with the \u003ca href=\"http://www.ubuntutheaterproject.com/our-season\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> and \u003ca href=\"http://www.grittycityrep.org/\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory\u003c/a>). In keeping with their mission to critically examine the lives of people in the inner city, the Playaz are staging an insightful world premiere by founder and company director Ayodele Nzinga.\u003cem> Mama at Twilight: Death by Love\u003c/em> is a play about HIV, incarceration and health care, just in time for the Republican-controlled Congress to show us how much health care, or its absence, matters in America today. Details for the play at Oakland’s Flight Deck are \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vO2URhI_AEk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 6\u003c/strong>: \u003ca href=\"http://www.esandresky.com/\" target=\"_blank\" rel=\"noopener\">Eleonor Sandresky\u003c/a> is on the cutting edge of the avant-garde. She’s a New York-based pianist who’s trying on some new ideas in music and clothing, with what she calls her “Wonder Suit.” This is wearable tech that does more than just track your footsteps. The suit, as you can see in the video above, lets Sandresky integrate live electronics with her movements. Okay, so the Bay Area’s \u003ca href=\"http://www.pamelaz.com/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and Derrique McGee have been playing with these ideas for years. But Sandresky brings her New York sensibility to a new work in which she integrates live piano with recorded space sounds from NASA, taking us, we hope, to a deep listening space. Details for her show at the Center for New Music are \u003ca href=\"http://centerfornewmusic.com/calendar/prism-series-presents-the-wonder-suit-show-a-space-odyssey/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12585219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12585219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg\" alt=\"Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1920x1312.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1180x806.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-960x656.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair. \u003ccite>(Photo: Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–14\u003c/strong>: The FOG Design+Art Fair is back at Fort Mason for the fourth year. This is a design and art showcase for the whole west coast, and a Bay Area response to the boom in art fairs around the world. This one is carefully curated, with just a few dozen exhibitors from the worlds of art and design. Among the programs is \u003cem>Designing a Legacy: Female Game Changers in Art and Culture\u003c/em>, a panel including Cheryl Haines of the For-Site Foundation and Stephanie Hanor from the Mills College Museum; a conversation with artist and designer Tomás Saraceno, and much more. Details for the fair (tickets are $20 in advance) at Fort Mason are \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-AVifTdjtvE&t=346s\u003c/p>\n\u003cp>\u003cstrong>Jan. 12–29:\u003c/strong> \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> is back, just in time to bring some humor and comedy to this dark time of year. We’ve got Patton Oswalt coming to town, closeup magician Ricky Jay (who is astonishingly weird and good), tributes to Tig Notaro (David put \u003cem>\u003ca href=\"https://www.amazon.com/One-Mississippi-Season-1/dp/B017APUVI8\" target=\"_blank\" rel=\"noopener\">One Mississippi\u003c/a>,\u003c/em> her new show on Amazon, on his \u003ca href=\"http://www.sfchronicle.com/tv/article/The-10-best-TV-shows-of-2016-and-2-more-10815761.php\" target=\"_blank\" rel=\"noopener\">10 Best List\u003c/a>), and more. There’s even a couple of shows aimed at the President-elect, with comedian Moshe Kahser doing a live podcast called \u003cem>Planning a Non-Violent Revolution in the Age of Trump\u003c/em>.\u003c/p>\n\u003cp>Sketchfest also features an evening of vaudeville hosted by Tony-winning clown \u003ca href=\"http://thebillirwin.com/\" target=\"_blank\" rel=\"noopener\">Bill Irwin\u003c/a>, who performs with his old clowning partner \u003ca href=\"https://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a> and guitarist \u003ca href=\"http://billfrisell.com/news\" target=\"_blank\" rel=\"noopener\">Bill Frisell\u003c/a>. Irwin is also in San Francisco for a one-man show at the American Conservatory Theater (ACT) about playwright \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Beckett\" target=\"_blank\" rel=\"noopener\">Samuel Beckett\u003c/a>. Irwin told me by phone that the two shows are deeply connected, because Beckett’s plays were a kind of metaphysical vaudeville. “He and his family went to the variety theater, watching music hall and vaudeville comics,” Irwin said. “He seemed to be, even in his most avant-garde work, alluding to a kind of circus and music hall and vaudeville tradition. And he asked for bowler hats and baggy pants (for the characters of Vladimir and Estragon in \u003cem>Waiting for Godot\u003c/em>).” Details for Sketchfest are \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Irwin’s ACT performance \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=A5AED901-EFAA-48AB-964C-2A1C7A7F67BB\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3De0E_1x1Rw\u003c/p>\n\u003cp>\u003cstrong>Jan. 7:\u003c/strong> A lot of people are still hurting as a result of the Ghost Ship Fire, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">Sarah Sexton\u003c/a> is producing a benefit concert at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club \u003c/a>featuring \u003ca href=\"https://www.facebook.com/ritualsofmine/\" target=\"_blank\" rel=\"noopener\">Rituals of Mine\u003c/a>, \u003ca href=\"https://www.facebook.com/waxidols/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Kool A.D. and others. There will be an altar at the event for offerings from audience members that will later be moved to the site of the fire in Fruitvale. Details for the benefit are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/7/ghost-ship-benefit-feat-rituals-of-mine-special-guests\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aPQb6XkxNL4\u003c/p>\n\u003cp>\u003cstrong>Jan. 19: \u003c/strong>Here’s a heads up for a show that will quickly sell out: \u003ca href=\"http://www.dodosmusic.net/\" target=\"_blank\" rel=\"noopener\">The Dodos\u003c/a> play a benefit for booker Annie Southworth at Bottom of the Hill. Let’s call it a \u003cstrong>CHEAP THRILL\u003c/strong>, $20 in advance for a good cause and a rare chance to see Meric Long and Logan Kroeber play amazing rock ‘n’ roll. \u003ca href=\"http://www.songkick.com/concerts/28697629-dodos-at-bottom-of-the-hill\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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": "Wonder woman Eleonor Sandresky and '80s survivor Midge Ure are just two of the Do List's many picks this week.",
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"title": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos | KQED",
"description": "Wonder woman Eleonor Sandresky and '80s survivor Midge Ure are just two of the Do List's many picks this week.",
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"headline": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170105.mp3\u003cbr>\n\u003c/aside>\n\u003cp>This week we feature the premiere of a new play from Oakland’s\u003ca href=\"http://www.lowerbottomplayaz.com\" target=\"_blank\" rel=\"noopener\"> Lower Bottom Playaz\u003c/a>, but there’s another scrappy little theater company making amazing work as it closes out its 2016 season. The \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players \u003c/a>in Berkeley are doing five shows in repertory, each one a winner. But their \u003cem>Hamlet\u003c/em> is a work of daredevil brilliance, with cast members learning which character they’ll play just before each performance. Catch them before the season ends on Jan. 15th.\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/Dx-Mho3qU2I'\n title='//www.youtube.com/embed/Dx-Mho3qU2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 9–11\u003c/strong>: Rock ‘n’ roll lost some great performers this past year, but others are still going strong, like \u003ca href=\"http://www.midgeure.co.uk/\" target=\"_blank\" rel=\"noopener\">Midge Ure\u003c/a>, formerly of Thin Lizzy, Rich Kids, and Ultravox. He’s also one of the masterminds, with Bob Geldof, of Live Aid, and the co-writer of “Do They Know it’s Christmas” — a rock ‘n’ roll Zelig. His charity work earned him an Order of the British Empire, and we’re grateful he keeps performing, despite some serious hearing issues. Ure’s shows in the Bay Area include Jan. 9 at Harlow’s in Sacramento (details \u003ca href=\"http://www.harlows.com/event/1319815-midge-ure-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>); Jan. 10 at Petaluma’s Mystic Theatre (details \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6879695&pl=mystic\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>); and Jan. 11 at the Social Hall in San Francisco (details \u003ca href=\"http://www.socialhallsf.com/events/detail/314015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12585018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12585018 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg\" alt=\"Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of 'Mama at Twilight' at the Flight Deck in Oakland\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of ‘Mama at Twilight’ at the Flight Deck in Oakland. \u003ccite>(Photo: Tasin Sabir/Lower Bottom Playaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–29\u003c/strong>: The \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> is one of the groups keeping theater — and theater training — alive in Oakland (along with the \u003ca href=\"http://www.ubuntutheaterproject.com/our-season\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> and \u003ca href=\"http://www.grittycityrep.org/\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory\u003c/a>). In keeping with their mission to critically examine the lives of people in the inner city, the Playaz are staging an insightful world premiere by founder and company director Ayodele Nzinga.\u003cem> Mama at Twilight: Death by Love\u003c/em> is a play about HIV, incarceration and health care, just in time for the Republican-controlled Congress to show us how much health care, or its absence, matters in America today. Details for the play at Oakland’s Flight Deck are \u003ca href=\"http://www.lowerbottomplayaz.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/vO2URhI_AEk'\n title='//www.youtube.com/embed/vO2URhI_AEk'\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. 6\u003c/strong>: \u003ca href=\"http://www.esandresky.com/\" target=\"_blank\" rel=\"noopener\">Eleonor Sandresky\u003c/a> is on the cutting edge of the avant-garde. She’s a New York-based pianist who’s trying on some new ideas in music and clothing, with what she calls her “Wonder Suit.” This is wearable tech that does more than just track your footsteps. The suit, as you can see in the video above, lets Sandresky integrate live electronics with her movements. Okay, so the Bay Area’s \u003ca href=\"http://www.pamelaz.com/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and Derrique McGee have been playing with these ideas for years. But Sandresky brings her New York sensibility to a new work in which she integrates live piano with recorded space sounds from NASA, taking us, we hope, to a deep listening space. Details for her show at the Center for New Music are \u003ca href=\"http://centerfornewmusic.com/calendar/prism-series-presents-the-wonder-suit-show-a-space-odyssey/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12585219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12585219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg\" alt=\"Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1920x1312.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1180x806.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-960x656.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair. \u003ccite>(Photo: Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–14\u003c/strong>: The FOG Design+Art Fair is back at Fort Mason for the fourth year. This is a design and art showcase for the whole west coast, and a Bay Area response to the boom in art fairs around the world. This one is carefully curated, with just a few dozen exhibitors from the worlds of art and design. Among the programs is \u003cem>Designing a Legacy: Female Game Changers in Art and Culture\u003c/em>, a panel including Cheryl Haines of the For-Site Foundation and Stephanie Hanor from the Mills College Museum; a conversation with artist and designer Tomás Saraceno, and much more. Details for the fair (tickets are $20 in advance) at Fort Mason are \u003ca href=\"https://fogfair.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/-AVifTdjtvE'\n title='//www.youtube.com/embed/-AVifTdjtvE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 12–29:\u003c/strong> \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> is back, just in time to bring some humor and comedy to this dark time of year. We’ve got Patton Oswalt coming to town, closeup magician Ricky Jay (who is astonishingly weird and good), tributes to Tig Notaro (David put \u003cem>\u003ca href=\"https://www.amazon.com/One-Mississippi-Season-1/dp/B017APUVI8\" target=\"_blank\" rel=\"noopener\">One Mississippi\u003c/a>,\u003c/em> her new show on Amazon, on his \u003ca href=\"http://www.sfchronicle.com/tv/article/The-10-best-TV-shows-of-2016-and-2-more-10815761.php\" target=\"_blank\" rel=\"noopener\">10 Best List\u003c/a>), and more. There’s even a couple of shows aimed at the President-elect, with comedian Moshe Kahser doing a live podcast called \u003cem>Planning a Non-Violent Revolution in the Age of Trump\u003c/em>.\u003c/p>\n\u003cp>Sketchfest also features an evening of vaudeville hosted by Tony-winning clown \u003ca href=\"http://thebillirwin.com/\" target=\"_blank\" rel=\"noopener\">Bill Irwin\u003c/a>, who performs with his old clowning partner \u003ca href=\"https://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a> and guitarist \u003ca href=\"http://billfrisell.com/news\" target=\"_blank\" rel=\"noopener\">Bill Frisell\u003c/a>. Irwin is also in San Francisco for a one-man show at the American Conservatory Theater (ACT) about playwright \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Beckett\" target=\"_blank\" rel=\"noopener\">Samuel Beckett\u003c/a>. Irwin told me by phone that the two shows are deeply connected, because Beckett’s plays were a kind of metaphysical vaudeville. “He and his family went to the variety theater, watching music hall and vaudeville comics,” Irwin said. “He seemed to be, even in his most avant-garde work, alluding to a kind of circus and music hall and vaudeville tradition. And he asked for bowler hats and baggy pants (for the characters of Vladimir and Estragon in \u003cem>Waiting for Godot\u003c/em>).” Details for Sketchfest are \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Irwin’s ACT performance \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=A5AED901-EFAA-48AB-964C-2A1C7A7F67BB\" target=\"_blank\" rel=\"noopener\">see 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/3De0E_1x1Rw'\n title='//www.youtube.com/embed/3De0E_1x1Rw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 7:\u003c/strong> A lot of people are still hurting as a result of the Ghost Ship Fire, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">Sarah Sexton\u003c/a> is producing a benefit concert at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club \u003c/a>featuring \u003ca href=\"https://www.facebook.com/ritualsofmine/\" target=\"_blank\" rel=\"noopener\">Rituals of Mine\u003c/a>, \u003ca href=\"https://www.facebook.com/waxidols/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Kool A.D. and others. There will be an altar at the event for offerings from audience members that will later be moved to the site of the fire in Fruitvale. Details for the benefit are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/7/ghost-ship-benefit-feat-rituals-of-mine-special-guests\" 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/aPQb6XkxNL4'\n title='//www.youtube.com/embed/aPQb6XkxNL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19: \u003c/strong>Here’s a heads up for a show that will quickly sell out: \u003ca href=\"http://www.dodosmusic.net/\" target=\"_blank\" rel=\"noopener\">The Dodos\u003c/a> play a benefit for booker Annie Southworth at Bottom of the Hill. Let’s call it a \u003cstrong>CHEAP THRILL\u003c/strong>, $20 in advance for a good cause and a rare chance to see Meric Long and Logan Kroeber play amazing rock ‘n’ roll. \u003ca href=\"http://www.songkick.com/concerts/28697629-dodos-at-bottom-of-the-hill\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cy-and-davids-picks-a-chicanoa-biennial-a-midlife-crisis-and-an-epic-sax-player",
"title": "Cy and Davids Picks: A Chicano/a Biennial, a Midlife Crisis, and an Epic Sax Player",
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"content": "\u003cp>KQED’s Cy Musiker and the Chronicle’s David Wiegand share their picks for great events around the Bay Area this week.\u003c/p>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/12/TDL20161230.mp3\u003c/p>\n\u003cp>Consider this Do List a requiem for 2016. We’re saying goodbye to an election year in which fiction mixed way too often with fact; and a year when we lost so many groundbreaking artists, including the death this week of \u003ca href=\"https://ww2.kqed.org/arts/2016/12/27/berkeley-rep-director-tony-taccone-reminisces-about-carrie-fisher/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a>, whose show \u003cem>Wishful Drinking\u003c/em> at Berkeley Rep was such a funny and thoughtful dissection of her own celebrity. Here’s hoping 2017 brings beautiful art to heal us all, starting with the listings below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NqnbYDX3-48\u003c/p>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The \u003ca href=\"https://bcco.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Community Chorus and Orchestra \u003c/a>is so Berkeley: all volunteer, no audition, with a long waiting list for membership, and a crackerjack conductor in \u003ca href=\"http://mingluke.com/\" target=\"_blank\" rel=\"noopener\">Ming Luke\u003c/a>. To open it’s 51st season the BCCO perform requiems by Mozart and Cherubini (music that’s both mournful and joyous) at the scrumptious sounding Hertz Hall on the Cal Berkeley campus. Soloists include Ariana Strahl, Kirk Dougherty, and Matt Hanscom, all members of the San Jose Opera repertory company, plus mezzo-soprano Silvie Jensen. Admission is free so it’s a CHEAP THRILL!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xITauHjfK_Q\u003c/p>\n\u003cp>\u003cstrong>Jan. 1\u003c/strong>: \u003ca href=\"http://carriefisher.com/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a> is fondly remembered not just for her feistily feminist portrayal of an intergalactic princess, but also as one of Hollywood’s best scriptwriters and script doctors. The Roxie in San Francisco is offering a tribute to her writing prowess, by showing \u003cem>Postcards from the Edge\u003c/em>, based on Fisher’s memoir and featuring her own screenplay, starring Meryl Streep and Shirley MacLaine and directed by Mike Nichols. Details \u003ca href=\"http://www.roxie.com/ai1ec_event/postcards-from-the-edge/?instance_id=17089\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12548652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg\" alt=\"MACLA in San Jose presents the 6th Chicana-Chicano Biennial\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MACLA in San Jose presents the 6th Chicana-Chicano Biennial \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12\u003c/strong>: MACLA is staging its 6th Chicana/o Biennial — with some of the very best work in the U.S. by Latino artists. I was especially knocked out by the socially conscious work of John Jota Leaños, who teaches at UC Santa Cruz. The exhibit, the only biennial devoted to contemporary Chicano/a art in the US, also features work by Javier Martinez, Natalia Anciso, Adrian Delgado, Gilda Posada, Eric Almanza, Isabel Castro, Raul Gonzalez, Suzy Gonzalez, Julia Landois, Rolando Palacio, Ezequiel “Zeke” Peña, and others.\u003c/p>\n\u003cfigure id=\"attachment_12548273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png\" alt=\"Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-768x540.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1020x717.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1180x830.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-960x675.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-240x169.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-375x264.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-520x366.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853.png 1509w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center \u003ccite>(Photo: Courtesy of the CCM Archive Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The sound sculptors who play their work at the \u003ca href=\"http://www.sfsound.org/tape/\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Festival \u003c/a>aren’t really playing with audio tape any more (as in the picture above of \u003ca href=\"http://paulineoliveros.us/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros,\u003c/a> a founding member and first director of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">SF Tape Music Center\u003c/a>), but they’re still shaping found sounds and electronica into weird audio environments, sometimes soothing, sometimes deeply disturbing. This year’s lineup features work by Oliveros, who coined the term “deep listening’ to describe the experience she was seeking to invoke in her audiences, locals Warner Jepson and Bill McGinnis, plus excerpts from the soundtrack of David Lynch’s film \u003cem>Eraserhead, \u003c/em>truly a creepy audio space. This is another CHEAP THRILL! Details for the surround sound shows at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco’s Mission (right by the 16th Street BART Station) are \u003ca href=\"http://www.sfsound.org/tape/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QojRx1sJVsI\u003c/p>\n\u003cp>\u003cstrong>Continuing through Jan. 15\u003c/strong>: We’re a society hooked on memoir, and few write them as well as \u003ca href=\"http://members.authorsguild.net/sandratloh/\" target=\"_blank\" rel=\"noopener\">Sandra Tsing Loh\u003c/a>, a familiar voice on public radio and the author of \u003ca href=\"https://www.amazon.com/Madwoman-Volvo-Year-Raging-Hormones/dp/0393351092\" target=\"_blank\" rel=\"noopener\">\u003cem>The Madwoman in the Volvo\u003c/em>\u003c/a>. She’s adapted that book into a play at Berkeley Rep, with help from Berkeley Rep’s associate director, Lisa Peterson. It’s a tale of a menopause fueled mid-life crisis careening from a visit to Burning Man, a love affair, a divorce, and a rough bout of depression. The show is a comedy, Loh told me, but it comes at a really poignant time for anyone troubled by the election, or suffering from seasonal affective disorder. “The show is running in the darkness of winter,” Loh said, “and we are lighting candles in the sanctuary of the theater, and we’re going to find joy and were going to outlast this time.” Details for\u003cem> The Madwoman in the Volvo\u003c/em> are \u003ca href=\"http://www.berkeleyrep.org/season/1617/11542.asp#tabbed-nav=seehear\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OLRFswb167Y\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: I’ve been wanting to feature this music on the Do List since I first heard \u003ca href=\"http://www.kamasiwashington.com/\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>‘s \u003cem>The Epic\u003c/em> last year. The music is a a wonderful mashup of free jazz, jazz fusion and big band styles, with a chorus and strings on top, and somehow it all hangs together. Washington has been a powerful influence in other ways; he did some arrangements for Kendrick Lamar’s album \u003cem>To Pimp A Butterfly\u003c/em>. He’ll be playing here with his dad, Ricky Washington, and a “small” touring band (two drummers, three horns, including Washington and his dad Ricky, both on sax, a pianist, a bassist and a singer). Details for the SFJAZZ show are \u003ca href=\"https://www.sfjazz.org/events/2016-17/0106/kamasi-washington\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and Davids Picks: A Chicano/a Biennial, a Midlife Crisis, and an Epic Sax Player | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED’s Cy Musiker and the Chronicle’s David Wiegand share their picks for great events around the Bay Area this week.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consider this Do List a requiem for 2016. We’re saying goodbye to an election year in which fiction mixed way too often with fact; and a year when we lost so many groundbreaking artists, including the death this week of \u003ca href=\"https://ww2.kqed.org/arts/2016/12/27/berkeley-rep-director-tony-taccone-reminisces-about-carrie-fisher/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a>, whose show \u003cem>Wishful Drinking\u003c/em> at Berkeley Rep was such a funny and thoughtful dissection of her own celebrity. Here’s hoping 2017 brings beautiful art to heal us all, starting with the listings below.\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/NqnbYDX3-48'\n title='//www.youtube.com/embed/NqnbYDX3-48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The \u003ca href=\"https://bcco.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Community Chorus and Orchestra \u003c/a>is so Berkeley: all volunteer, no audition, with a long waiting list for membership, and a crackerjack conductor in \u003ca href=\"http://mingluke.com/\" target=\"_blank\" rel=\"noopener\">Ming Luke\u003c/a>. To open it’s 51st season the BCCO perform requiems by Mozart and Cherubini (music that’s both mournful and joyous) at the scrumptious sounding Hertz Hall on the Cal Berkeley campus. Soloists include Ariana Strahl, Kirk Dougherty, and Matt Hanscom, all members of the San Jose Opera repertory company, plus mezzo-soprano Silvie Jensen. Admission is free so it’s a CHEAP THRILL!\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/xITauHjfK_Q'\n title='//www.youtube.com/embed/xITauHjfK_Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 1\u003c/strong>: \u003ca href=\"http://carriefisher.com/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a> is fondly remembered not just for her feistily feminist portrayal of an intergalactic princess, but also as one of Hollywood’s best scriptwriters and script doctors. The Roxie in San Francisco is offering a tribute to her writing prowess, by showing \u003cem>Postcards from the Edge\u003c/em>, based on Fisher’s memoir and featuring her own screenplay, starring Meryl Streep and Shirley MacLaine and directed by Mike Nichols. Details \u003ca href=\"http://www.roxie.com/ai1ec_event/postcards-from-the-edge/?instance_id=17089\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12548652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg\" alt=\"MACLA in San Jose presents the 6th Chicana-Chicano Biennial\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MACLA in San Jose presents the 6th Chicana-Chicano Biennial \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12\u003c/strong>: MACLA is staging its 6th Chicana/o Biennial — with some of the very best work in the U.S. by Latino artists. I was especially knocked out by the socially conscious work of John Jota Leaños, who teaches at UC Santa Cruz. The exhibit, the only biennial devoted to contemporary Chicano/a art in the US, also features work by Javier Martinez, Natalia Anciso, Adrian Delgado, Gilda Posada, Eric Almanza, Isabel Castro, Raul Gonzalez, Suzy Gonzalez, Julia Landois, Rolando Palacio, Ezequiel “Zeke” Peña, and others.\u003c/p>\n\u003cfigure id=\"attachment_12548273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png\" alt=\"Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-768x540.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1020x717.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1180x830.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-960x675.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-240x169.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-375x264.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-520x366.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853.png 1509w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center \u003ccite>(Photo: Courtesy of the CCM Archive Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The sound sculptors who play their work at the \u003ca href=\"http://www.sfsound.org/tape/\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Festival \u003c/a>aren’t really playing with audio tape any more (as in the picture above of \u003ca href=\"http://paulineoliveros.us/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros,\u003c/a> a founding member and first director of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">SF Tape Music Center\u003c/a>), but they’re still shaping found sounds and electronica into weird audio environments, sometimes soothing, sometimes deeply disturbing. This year’s lineup features work by Oliveros, who coined the term “deep listening’ to describe the experience she was seeking to invoke in her audiences, locals Warner Jepson and Bill McGinnis, plus excerpts from the soundtrack of David Lynch’s film \u003cem>Eraserhead, \u003c/em>truly a creepy audio space. This is another CHEAP THRILL! Details for the surround sound shows at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco’s Mission (right by the 16th Street BART Station) are \u003ca href=\"http://www.sfsound.org/tape/\" 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/QojRx1sJVsI'\n title='//www.youtube.com/embed/QojRx1sJVsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Jan. 15\u003c/strong>: We’re a society hooked on memoir, and few write them as well as \u003ca href=\"http://members.authorsguild.net/sandratloh/\" target=\"_blank\" rel=\"noopener\">Sandra Tsing Loh\u003c/a>, a familiar voice on public radio and the author of \u003ca href=\"https://www.amazon.com/Madwoman-Volvo-Year-Raging-Hormones/dp/0393351092\" target=\"_blank\" rel=\"noopener\">\u003cem>The Madwoman in the Volvo\u003c/em>\u003c/a>. She’s adapted that book into a play at Berkeley Rep, with help from Berkeley Rep’s associate director, Lisa Peterson. It’s a tale of a menopause fueled mid-life crisis careening from a visit to Burning Man, a love affair, a divorce, and a rough bout of depression. The show is a comedy, Loh told me, but it comes at a really poignant time for anyone troubled by the election, or suffering from seasonal affective disorder. “The show is running in the darkness of winter,” Loh said, “and we are lighting candles in the sanctuary of the theater, and we’re going to find joy and were going to outlast this time.” Details for\u003cem> The Madwoman in the Volvo\u003c/em> are \u003ca href=\"http://www.berkeleyrep.org/season/1617/11542.asp#tabbed-nav=seehear\" 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/OLRFswb167Y'\n title='//www.youtube.com/embed/OLRFswb167Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: I’ve been wanting to feature this music on the Do List since I first heard \u003ca href=\"http://www.kamasiwashington.com/\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>‘s \u003cem>The Epic\u003c/em> last year. The music is a a wonderful mashup of free jazz, jazz fusion and big band styles, with a chorus and strings on top, and somehow it all hangs together. Washington has been a powerful influence in other ways; he did some arrangements for Kendrick Lamar’s album \u003cem>To Pimp A Butterfly\u003c/em>. He’ll be playing here with his dad, Ricky Washington, and a “small” touring band (two drummers, three horns, including Washington and his dad Ricky, both on sax, a pianist, a bassist and a singer). Details for the SFJAZZ show are \u003ca href=\"https://www.sfjazz.org/events/2016-17/0106/kamasi-washington\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley Rep Director Tony Taccone Reminisces about Carrie Fisher",
"headTitle": "Berkeley Rep Director Tony Taccone Reminisces about Carrie Fisher | KQED",
"content": "\u003cp>To most people, Carrie Fisher was 1970s and ’80s Hollywood royalty — an A-list actress with credits like \u003cem>Star Wars\u003c/em>, \u003cem>Hannah and her Sisters\u003c/em> and \u003cem>Blues Brothers\u003c/em> to her name, and celebrities like Elizabeth Taylor, Debbie Reynolds and Eddie Fisher in her family.\u003c/p>\n\u003cp>[contextly_sidebar id=”2QszNsGIzReJN4PwgzHDGxEJTyRLHoP4″]\u003c/p>\n\u003cp>But Fisher, who died Tuesday morning at the age of 60 in Los Angeles, had much broader creative interests. She published a bunch of bestselling books, including the novel \u003cem>Postcards from the Edge\u003c/em>, hosted her own television show on the \u003cem>Oxygen\u003c/em> network, and, towards the end of her career, wrote and performed in a solo theater production, which played at Berkeley Repertory Theatre in 2008, was reprised there in 2009, and eventually went on to Broadway.\u003c/p>\n\u003cp>Fisher premiered her one woman show, \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/0708/2121.asp\" target=\"_blank\" rel=\"noopener\">Wishful Drinking\u003c/a>,\u003c/em> in Los Angeles. But it needed some work. So producer Jonathan Reinis approached Berkeley Repertory Theatre artistic director Tony Taccone about collaborating with Fisher on a revamped version.\u003c/p>\n\u003cfigure id=\"attachment_12543165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12543165\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-800x450.jpg\" alt=\"Carrie Fisher speaks onstage during Wizard World Comic Con Chicago 2016\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Fisher speaks onstage during Wizard World Comic Con Chicago 2016 \u003ccite>(Photo: Daniel Boczarski/Getty Images for Wizard World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had read some of her books and was wildly entertained,” Taccone said in a phone interview. The director watched a DVD recording of the stage show and then flew to Los Angeles to meet with Fisher to talk about a potential collaboration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taccone was immediately struck by the eccentric appearance of Fisher’s home. “It was full of the most wild stuff — what, in the 1950s, you would have called ‘a bohemian home’,” Taccone said. “Every room had details and items from various parts of her journey. There was a swing in one room. Another room had sayings on the wall. It was like going into a haunted house.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Wishful Drinking\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/Y_whVgSEudw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Growing up in a family of entertainers, Fisher took easily to the stage. “I was essentially raised in my mother’s nightclub act, so it’s very natural for me to do what most people find unnatural – which in this case would be getting on stage and telling stories,” Fisher stated in a press release announcing the Berkeley Rep run of \u003cem>Wishful Drinking\u003c/em> in 2008.\u003c/p>\n\u003cp>This background made working with the actress on \u003cem>Wishful Drinking\u003c/em> a pleasure, according to Taccone. “Probably more than any other artist, she knew how to craft a comic line,” said Taccone, whose solo show credits at the time he and Fisher met included the world premiere of Danny Hoch’s \u003cem>Taking Over\u003c/em> and Sarah Jones’ Tony Award-winning \u003cem>Bridge & Tunnel.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12543593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12543593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-800x448.jpg\" alt=\"Hollywood actress Carrie Fisher performs her solo show, 'Wishful Drinking,' at Berkeley Repertory Theatre in 2008.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-1920x1074.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-1180x660.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood actress Carrie Fisher performs her solo show, ‘Wishful Drinking,’ at Berkeley Repertory Theatre in 2008. \u003ccite>(Photo: Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two worked on restructuring \u003cem>Wishful Drinking, \u003c/em>in which Fisher took a comical but heart-wrenchingly honest look at her own life. In the show, Fisher told candid tales about such things as what it was like to have Taylor as a stepmother, her relationship with Paul Simon, and dealing with illness and addiction.\u003c/p>\n\u003cp>“Somebody once asked me if I was happy,” Fisher said in an interview with KQED during the show’s run, “and I just said among other things, happy is one of the many things I am likely to be throughout the course of a day.” \u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Fisher struggled with bipolar disorder and alcoholism. Taccone said Fisher took medication for her problems, which sometimes made the process of rehearsing \u003cem>Wishful Drinking\u003c/em> a challenge. “The medication would dull her sensibilities, but she was open about that,” Taccone said. “She said to me once, ‘when I’m firing on all cylinders, there’s no one better,’ and I have to say she was right!”\u003c/p>\n\u003cp>Taccone said Fisher was very professional throughout the process, despite her challenges. “She was a total trooper,” Taccone said. “She had bouts of illness, but she never missed a show.”\u003c/p>\n\u003cp>And he still admires Fisher for facing her demons head on. “She was one of the first people to champion her own bipolar disorder,” Taccone said. “She became a symbol of courage and freedom from illness for a lot of folks because she was so transparent about it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>In honor of Fisher’s career, The Roxie movie theater in San Francisco is offering a special screening her hit film \u003cem>Postcards from the Edge\u003c/em> on Sunday, Jan. 1. Information \u003ca href=\"https://www.facebook.com/events/599623073573586/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To most people, Carrie Fisher was 1970s and ’80s Hollywood royalty — an A-list actress with credits like \u003cem>Star Wars\u003c/em>, \u003cem>Hannah and her Sisters\u003c/em> and \u003cem>Blues Brothers\u003c/em> to her name, and celebrities like Elizabeth Taylor, Debbie Reynolds and Eddie Fisher in her family.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But Fisher, who died Tuesday morning at the age of 60 in Los Angeles, had much broader creative interests. She published a bunch of bestselling books, including the novel \u003cem>Postcards from the Edge\u003c/em>, hosted her own television show on the \u003cem>Oxygen\u003c/em> network, and, towards the end of her career, wrote and performed in a solo theater production, which played at Berkeley Repertory Theatre in 2008, was reprised there in 2009, and eventually went on to Broadway.\u003c/p>\n\u003cp>Fisher premiered her one woman show, \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/0708/2121.asp\" target=\"_blank\" rel=\"noopener\">Wishful Drinking\u003c/a>,\u003c/em> in Los Angeles. But it needed some work. So producer Jonathan Reinis approached Berkeley Repertory Theatre artistic director Tony Taccone about collaborating with Fisher on a revamped version.\u003c/p>\n\u003cfigure id=\"attachment_12543165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12543165\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-800x450.jpg\" alt=\"Carrie Fisher speaks onstage during Wizard World Comic Con Chicago 2016\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CArrie-Fisherdog-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Fisher speaks onstage during Wizard World Comic Con Chicago 2016 \u003ccite>(Photo: Daniel Boczarski/Getty Images for Wizard World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had read some of her books and was wildly entertained,” Taccone said in a phone interview. The director watched a DVD recording of the stage show and then flew to Los Angeles to meet with Fisher to talk about a potential collaboration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taccone was immediately struck by the eccentric appearance of Fisher’s home. “It was full of the most wild stuff — what, in the 1950s, you would have called ‘a bohemian home’,” Taccone said. “Every room had details and items from various parts of her journey. There was a swing in one room. Another room had sayings on the wall. It was like going into a haunted house.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Wishful Drinking\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/Y_whVgSEudw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Growing up in a family of entertainers, Fisher took easily to the stage. “I was essentially raised in my mother’s nightclub act, so it’s very natural for me to do what most people find unnatural – which in this case would be getting on stage and telling stories,” Fisher stated in a press release announcing the Berkeley Rep run of \u003cem>Wishful Drinking\u003c/em> in 2008.\u003c/p>\n\u003cp>This background made working with the actress on \u003cem>Wishful Drinking\u003c/em> a pleasure, according to Taccone. “Probably more than any other artist, she knew how to craft a comic line,” said Taccone, whose solo show credits at the time he and Fisher met included the world premiere of Danny Hoch’s \u003cem>Taking Over\u003c/em> and Sarah Jones’ Tony Award-winning \u003cem>Bridge & Tunnel.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12543593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12543593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-800x448.jpg\" alt=\"Hollywood actress Carrie Fisher performs her solo show, 'Wishful Drinking,' at Berkeley Repertory Theatre in 2008.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-1920x1074.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-1180x660.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Carrie-Fisher-2-e1482871605523.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood actress Carrie Fisher performs her solo show, ‘Wishful Drinking,’ at Berkeley Repertory Theatre in 2008. \u003ccite>(Photo: Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two worked on restructuring \u003cem>Wishful Drinking, \u003c/em>in which Fisher took a comical but heart-wrenchingly honest look at her own life. In the show, Fisher told candid tales about such things as what it was like to have Taylor as a stepmother, her relationship with Paul Simon, and dealing with illness and addiction.\u003c/p>\n\u003cp>“Somebody once asked me if I was happy,” Fisher said in an interview with KQED during the show’s run, “and I just said among other things, happy is one of the many things I am likely to be throughout the course of a day.” \u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Fisher struggled with bipolar disorder and alcoholism. Taccone said Fisher took medication for her problems, which sometimes made the process of rehearsing \u003cem>Wishful Drinking\u003c/em> a challenge. “The medication would dull her sensibilities, but she was open about that,” Taccone said. “She said to me once, ‘when I’m firing on all cylinders, there’s no one better,’ and I have to say she was right!”\u003c/p>\n\u003cp>Taccone said Fisher was very professional throughout the process, despite her challenges. “She was a total trooper,” Taccone said. “She had bouts of illness, but she never missed a show.”\u003c/p>\n\u003cp>And he still admires Fisher for facing her demons head on. “She was one of the first people to champion her own bipolar disorder,” Taccone said. “She became a symbol of courage and freedom from illness for a lot of folks because she was so transparent about it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>In honor of Fisher’s career, The Roxie movie theater in San Francisco is offering a special screening her hit film \u003cem>Postcards from the Edge\u003c/em> on Sunday, Jan. 1. Information \u003ca href=\"https://www.facebook.com/events/599623073573586/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-speakeasy-a-reminder-of-s-f-s-long-history-of-sticking-it-to-the-man",
"title": "'The Speakeasy': A Reminder of S.F.'s Long History of Sticking It to the Man",
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"headTitle": "‘The Speakeasy’: A Reminder of S.F.’s Long History of Sticking It to the Man | KQED",
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"content": "\u003cp>At a time when many municipalities across the land are bracing for the new political reality, \u003cspan style=\"font-weight: 400\">San Francisco has wasted no time in thumbing its nose at the incoming administration’s ideas, \u003c/span>from city officials issuing a \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=4780694&GUID=4A3B6004-E6E2-4C83-B1B7-ACD7D52AE510\" target=\"_blank\" rel=\"noopener\">public declaration\u003c/a> of their disdain for the President Elect’s policies, to the birth control startup Nurx \u003ca href=\"http://hi.nurx.co/blog/2016/12/19/donald-trump-gets-you-free-birth-control-from-nurx/\" target=\"_blank\" rel=\"noopener\">shipping free contraception\u003c/a> via the promo code “Donald Trump.”\u003c/p>\n\u003cp>Of course, San Francisco possesses a long track record of willfully ignoring federal edicts. I was happily reminded of that fact when I paid a visit to \u003ca href=\"https://thespeakeasysf.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Speakeasy\u003c/em>\u003c/a>, a “choose your own adventure”-style theater experience that recently opened its doors at “a secret venue near Chinatown and North Beach.”\u003c/p>\n\u003cfigure id=\"attachment_12530015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530015\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-800x507.jpg\" alt=\"Brian Rosen and Clay David play a comedy double-act in The Speakeasy.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1920x1218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Rosen and Clay David play a comedy double-act in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It aims — if not completely succeeds, at least on an artistic level — to recreate the atmosphere of the many clandestine nightspots that continued to sell hard liquor throughout the 1920s in the city, even as the rest of the country hobbled along dry-mouthed through the Prohibition years. (When San Francisco hosted the democratic convention only six months after the nationwide liquor ban, the mayor, according to the writer H. L. Mencken, treated delegates to “a carload of Bourbon whiskey, old, mellow and full of pungent but delicate tangs.”)\u003c/p>\n\u003cp>At its best, \u003cem>The Speakeasy\u003c/em> offers a liquor-and-dice-infused costume party with ultra-low-stakes gaming and a loving glance back to the vaudeville entertainments of yesteryear. At its worst, it’s about as entertaining and corporate-feeling as a night out at a Reno casino, only without the possibility of walking out with bundles of cash.\u003c/p>\n\u003cp>Getting there is one of the highlights. The adventure begins down a dank North Beach back alley, where a few shady-looking types in flapper dresses, feather boas and fedoras wait for you to ask them a question about a pie. They give you a set of instructions that send you hastening around the block to a nondescript doorway, down a grungy set of stairs and through the suspended bedsheets of a fake laundry service.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At last, you are met with a champagne cocktail and a wondrous sight: a splendid old-timey cabaret theater, complete with high-kicking chorus girls in red sequins and green eye makeup, and bowler hat-sporting comedians cracking gentle jokes about their wives.\u003c/p>\n\u003cfigure id=\"attachment_12530969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530969\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-800x515.jpg\" alt=\"Freddie Larson as Vinnie in The Speakeasy.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freddie Larson as Vinnie in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there, you can dawdle for a while over the various ventriloquist acts and music hall numbers accompanied by the spiffy live band, and then potter off to explore the joint at leisure.\u003c/p>\n\u003cp>You don’t even have to start your journey in the cabaret; \u003cem>The Speakeasy\u003c/em>’s several enclaves include a games room offering craps and poker, a secret “booth” in which you can spy on behind-the-scenes intrigues happening between the night-spot’s various lowlifes through a two-way mirror, and a saloon where a bartender will serve you a period cocktail while you watch the brawling antics of a bunch of local toughs.\u003c/p>\n\u003cp>But after what seems like an infinity of wandering about aimlessly with a cocktail glass in hand, throwing dice, and trying to avoid getting shoved by actors playing characters in various stages of inebriation or distress, things start to wear as thin as a mobster’s alibi.\u003c/p>\n\u003cp>\u003cem>The Speakeasy\u003c/em>’s producers — David Gluck, Geoffrey N. Libby and Nick A. Oliveiro — have taken pains to create narrative threads to help imbue the otherwise entertaining, nostalgia-laced commercialism of their enterprise with the sheen of serious theater.\u003c/p>\n\u003cp>As I moved around, I caught a smattering of melodramatically written and bombastically performed scenarios. These included a fight between a chorus girl and her boss about her troubled brother’s debt, and an innocent little girl’s first foray into San Francisco’s seedy nightlife after tagging along with her ne’er-do-well dad.\u003c/p>\n\u003cfigure id=\"attachment_12530970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-800x519.jpg\" alt=\"Megan Wicks as Velma in The Speakeasy.\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-520x337.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221.jpg 1443w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Wicks as Velma in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, because guests can only physically be in one place at one time, it’s difficult to follow any particular plot-line unless you stay put in one place, spend the entire time following a single character around the building, or just get very lucky. Otherwise, you find yourself in the middle of a bunch of random, heavy-handed set-pieces that feel more like noisy intrusions on the drinking, gambling and chorus line-watching than coherent drama.\u003c/p>\n\u003cp>Then there’s the issue of how the space is designed. For a venue that the show’s producers custom-built for the very purpose of creating an immersive theatrical experience (the program notes draw attention to the 1058 “vintage reproduction ceiling tiles” and 1562 feet of molding used in the renovation) the architecture is curiously uncooperative.\u003c/p>\n\u003cfigure id=\"attachment_12530971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-800x476.jpg\" alt=\"Anthony Cistaro and Jessica Waldman in The Speakeasy.\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607.jpg 2022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Cistaro and Jessica Waldman in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Few 1920s speakeasies resembled cathedrals, of course. But the corridors and some of the rooms of \u003cem>The Speakeasy\u003c/em> are so cramped and claustrophobic, that they frequently cause bottlenecks that make it hard for audience members to truly lose themselves in the experience. A couple of hours into the three-hour-long production, I was ready to get out.\u003c/p>\n\u003cp>As the sanctuary city of San Francisco continues to face off against the political storm, the ability to retreat to the warmth and laissez-faire of fringy, underground spaces will be ever more essential for its citizens. \u003cem>The Speakeasy\u003c/em> provides people who might not ordinarily venture into such venues with a safe way to experience a corporate facsimile of the real thing. But starting at $85 a ticket, it’s hardly a viable option for many locals seeking sanctuary in these contentious times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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 Speakeasy\u003c/em> is running indefinitely at a location in North Beach, San Francisco, the details of which are disclosed after you purchase tickets. For information and sales, click \u003ca href=\"https://thespeakeasysf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "I was happily reminded of the fact that San Francisco possesses a long track record of willfully ignoring federal edicts when I recently paid a visit to the immersive theater experience that recently opened its doors at 'a secret venue near Chinatown and North Beach.'",
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"title": "'The Speakeasy': A Reminder of S.F.'s Long History of Sticking It to the Man | KQED",
"description": "I was happily reminded of the fact that San Francisco possesses a long track record of willfully ignoring federal edicts when I recently paid a visit to the immersive theater experience that recently opened its doors at 'a secret venue near Chinatown and North Beach.'",
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"headline": "'The Speakeasy': A Reminder of S.F.'s Long History of Sticking It to the Man",
"datePublished": "2016-12-27T13:00:42-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when many municipalities across the land are bracing for the new political reality, \u003cspan style=\"font-weight: 400\">San Francisco has wasted no time in thumbing its nose at the incoming administration’s ideas, \u003c/span>from city officials issuing a \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=4780694&GUID=4A3B6004-E6E2-4C83-B1B7-ACD7D52AE510\" target=\"_blank\" rel=\"noopener\">public declaration\u003c/a> of their disdain for the President Elect’s policies, to the birth control startup Nurx \u003ca href=\"http://hi.nurx.co/blog/2016/12/19/donald-trump-gets-you-free-birth-control-from-nurx/\" target=\"_blank\" rel=\"noopener\">shipping free contraception\u003c/a> via the promo code “Donald Trump.”\u003c/p>\n\u003cp>Of course, San Francisco possesses a long track record of willfully ignoring federal edicts. I was happily reminded of that fact when I paid a visit to \u003ca href=\"https://thespeakeasysf.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Speakeasy\u003c/em>\u003c/a>, a “choose your own adventure”-style theater experience that recently opened its doors at “a secret venue near Chinatown and North Beach.”\u003c/p>\n\u003cfigure id=\"attachment_12530015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530015\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-800x507.jpg\" alt=\"Brian Rosen and Clay David play a comedy double-act in The Speakeasy.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1920x1218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Rosen and Clay David play a comedy double-act in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It aims — if not completely succeeds, at least on an artistic level — to recreate the atmosphere of the many clandestine nightspots that continued to sell hard liquor throughout the 1920s in the city, even as the rest of the country hobbled along dry-mouthed through the Prohibition years. (When San Francisco hosted the democratic convention only six months after the nationwide liquor ban, the mayor, according to the writer H. L. Mencken, treated delegates to “a carload of Bourbon whiskey, old, mellow and full of pungent but delicate tangs.”)\u003c/p>\n\u003cp>At its best, \u003cem>The Speakeasy\u003c/em> offers a liquor-and-dice-infused costume party with ultra-low-stakes gaming and a loving glance back to the vaudeville entertainments of yesteryear. At its worst, it’s about as entertaining and corporate-feeling as a night out at a Reno casino, only without the possibility of walking out with bundles of cash.\u003c/p>\n\u003cp>Getting there is one of the highlights. The adventure begins down a dank North Beach back alley, where a few shady-looking types in flapper dresses, feather boas and fedoras wait for you to ask them a question about a pie. They give you a set of instructions that send you hastening around the block to a nondescript doorway, down a grungy set of stairs and through the suspended bedsheets of a fake laundry service.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At last, you are met with a champagne cocktail and a wondrous sight: a splendid old-timey cabaret theater, complete with high-kicking chorus girls in red sequins and green eye makeup, and bowler hat-sporting comedians cracking gentle jokes about their wives.\u003c/p>\n\u003cfigure id=\"attachment_12530969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530969\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-800x515.jpg\" alt=\"Freddie Larson as Vinnie in The Speakeasy.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freddie Larson as Vinnie in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there, you can dawdle for a while over the various ventriloquist acts and music hall numbers accompanied by the spiffy live band, and then potter off to explore the joint at leisure.\u003c/p>\n\u003cp>You don’t even have to start your journey in the cabaret; \u003cem>The Speakeasy\u003c/em>’s several enclaves include a games room offering craps and poker, a secret “booth” in which you can spy on behind-the-scenes intrigues happening between the night-spot’s various lowlifes through a two-way mirror, and a saloon where a bartender will serve you a period cocktail while you watch the brawling antics of a bunch of local toughs.\u003c/p>\n\u003cp>But after what seems like an infinity of wandering about aimlessly with a cocktail glass in hand, throwing dice, and trying to avoid getting shoved by actors playing characters in various stages of inebriation or distress, things start to wear as thin as a mobster’s alibi.\u003c/p>\n\u003cp>\u003cem>The Speakeasy\u003c/em>’s producers — David Gluck, Geoffrey N. Libby and Nick A. Oliveiro — have taken pains to create narrative threads to help imbue the otherwise entertaining, nostalgia-laced commercialism of their enterprise with the sheen of serious theater.\u003c/p>\n\u003cp>As I moved around, I caught a smattering of melodramatically written and bombastically performed scenarios. These included a fight between a chorus girl and her boss about her troubled brother’s debt, and an innocent little girl’s first foray into San Francisco’s seedy nightlife after tagging along with her ne’er-do-well dad.\u003c/p>\n\u003cfigure id=\"attachment_12530970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-800x519.jpg\" alt=\"Megan Wicks as Velma in The Speakeasy.\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-520x337.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221.jpg 1443w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Wicks as Velma in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, because guests can only physically be in one place at one time, it’s difficult to follow any particular plot-line unless you stay put in one place, spend the entire time following a single character around the building, or just get very lucky. Otherwise, you find yourself in the middle of a bunch of random, heavy-handed set-pieces that feel more like noisy intrusions on the drinking, gambling and chorus line-watching than coherent drama.\u003c/p>\n\u003cp>Then there’s the issue of how the space is designed. For a venue that the show’s producers custom-built for the very purpose of creating an immersive theatrical experience (the program notes draw attention to the 1058 “vintage reproduction ceiling tiles” and 1562 feet of molding used in the renovation) the architecture is curiously uncooperative.\u003c/p>\n\u003cfigure id=\"attachment_12530971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-800x476.jpg\" alt=\"Anthony Cistaro and Jessica Waldman in The Speakeasy.\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607.jpg 2022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Cistaro and Jessica Waldman in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Few 1920s speakeasies resembled cathedrals, of course. But the corridors and some of the rooms of \u003cem>The Speakeasy\u003c/em> are so cramped and claustrophobic, that they frequently cause bottlenecks that make it hard for audience members to truly lose themselves in the experience. A couple of hours into the three-hour-long production, I was ready to get out.\u003c/p>\n\u003cp>As the sanctuary city of San Francisco continues to face off against the political storm, the ability to retreat to the warmth and laissez-faire of fringy, underground spaces will be ever more essential for its citizens. \u003cem>The Speakeasy\u003c/em> provides people who might not ordinarily venture into such venues with a safe way to experience a corporate facsimile of the real thing. But starting at $85 a ticket, it’s hardly a viable option for many locals seeking sanctuary in these contentious times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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 Speakeasy\u003c/em> is running indefinitely at a location in North Beach, San Francisco, the details of which are disclosed after you purchase tickets. For information and sales, click \u003ca href=\"https://thespeakeasysf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-startling-brilliance-of-a-somewhat-troubled-year-bay-area-theater-in-2016",
"title": "The Startling Brilliance of a Somewhat Troubled Year: Bay Area Theater in 2016",
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"headTitle": "The Startling Brilliance of a Somewhat Troubled Year: Bay Area Theater in 2016 | KQED",
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"content": "\u003cp>Brilliance makes its own rules, goes where it wants, and disappears all too soon. After seeing thousands of productions, I sometimes think I’ve seen it all. But these six pieces, well, I just never imagined anything like them. So here’s to the singular and brilliant theater of our somewhat troubled 2016.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Playhouse’s \u003cem>The Rules\u003c/em> by Dipika Guha at The Creativity Theater, San Francisco (Jun. 22 – Jul. 5, 2016)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12510998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12510998\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-800x416.jpg\" alt=\"Julia (Karen Offereins), Ana (Sarah Moser), and Mehr (Amy Lizardo) get excited about Ana’s second date.\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia (Karen Offereins), Ana (Sarah Moser), and Mehr (Amy Lizardo) get excited about Ana’s second date. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first five minutes of Dipika Guha’s \u003cem>The Rules\u003c/em> have the feel of a poorly written soap opera. But the show quickly becomes compelling, then gripping, then hypnotic. And so this poorly written soap opera ends up being the most beautiful and artful one you could ever imagine. SF Playhouse artistic director Bill English’s commitment to showcasing new plays and playwrights isn’t always successful, but it shouldn’t be. When a play like \u003cem>The Rules\u003c/em> comes along, you realize how vital and important the company’s “Sand Box” series of new works is.\u003c/p>\n\u003cp>\u003cstrong>Kevin Rolston’s \u003cem>Deal with the Dragon \u003c/em>at T\u003c/strong>\u003cstrong>he Costume Shop, San Francisco (Mar. 25-Apr. 16, 2016)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12511009\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12511009\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621.jpg\" alt=\"Kevin Rolston (Brenn) starts to feel the beast within in 'Deal with the Dragon.'\" width=\"719\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621-520x292.jpg 520w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Rolston (Brenn) starts to feel the beast within in ‘Deal with the Dragon.’ \u003ccite>(Photo: Kenny Yun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We tend to think of theater as existing in the moment, but much of our experience of it is after the fact. And Kevin Rolston’s \u003cem>Deal with the Dragon\u003c/em> gave me more after-the-fact pleasure than any other play this year. I just couldn’t stop thinking about all the sly ways this show burrowed into my mind, such as the AA meltdown of the drug addled artist Gandy Schwartz that anchors the middle section. Many people helped Rolston develop \u003cem>Deal with the Dragon\u003c/em>, but in the end this was a self-produced enterprise. Theaters should have been fighting for the right to even have a chance to produce Rolston’s show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Tom Sachs’ \u003cem>Space Program: Europa \u003c/em>at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cstrong> (Sep.16, 2016 – Jan. 13, 2017)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12511011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12511011\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-800x416.jpg\" alt=\"Astronauts explore Jupiter's icy moon, Europa, and the YBCA galleries.\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Astronauts explore Jupiter’s icy moon, Europa, and the YBCA galleries. \u003ccite>(Photo: Joshua White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Six hours is a long time for a performance that claims to be only a demonstration. Yet, one could equally claim that any mission that manages to send us to Europa, Jupiter’s icy moon, and back to earth in less than a day is time wisely spent — especially when it includes astronauts spooning to Al Green, the discovery of the first extraterrestrial Noguchi sculpture, the brilliant use of a Hibachi grill, and a Japanese tea ceremony. Tom Sachs’ \u003cem>Space Program: Europa\u003c/em> is a grand stunt of conceptual beauty. And it’s so joyous that it will make you embrace the most dangerous aspects of the human imagination. And there’s still one more opportunity to catch Sachs’ intergalactic demo, on Friday, Jan. 13.\u003c/p>\n\u003cp>\u003cstrong>Circo Zero’s \u003cem>future friend/ships\u003c/em> by Keith Hennessy and Jassem Hindi at \u003c/strong>\u003cstrong>Counterpulse, San Francisco (Dec. 15 – 17, 2016)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12511018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12511018\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-800x416.jpg\" alt=\"Jassem Hindi (Masked Man) speaks of Arab futurism in 'future friend/ship.'\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jassem Hindi (Masked Man) speaks of Arab futurism in ‘future friend/ship.’ \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anything that Keith Hennessy participates in should be prefaced with the words “breakthrough” and “damage.” Other artists take on serious subjects, but only Hennessy and his many collaborators (in this case, a sly and magnetic Jassem Hindi) seem to get inside the experience and risk actually living it. It’s as if anthropology suddenly turned into a dangerous art form. In the 70-minute \u003cem>future friend/ships\u003c/em>, we take a journey into an Arab future that includes and transcends drones, birds of prey, and astronauts. The connection between friendship, flight, and the future has the haphazard charm of science fiction, as well as all the genre’s prophetic and tragic force. Hennessy and Hindi’s piece is both a radical dream of a possible time to come and a dismal depiction of the world as it is now.\u003c/p>\n\u003cp>\u003cstrong>Ubunthu Theater Project’s \u003cem>Hurt\u003c/em> \u003cem>Village \u003c/em>by Katori Hall at \u003c/strong>\u003cstrong>Grace Temple Church, Oakland (Jul 15 – 31, 2016)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12511207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12511207\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-800x416.jpg\" alt=\"Crank (Jasmine Hughes) tries to center herself in the Ubuntu Theater Project's production of Katori Hall's 'Hurt Village.'\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crank (Jasmine Hughes) tries to center herself in the Ubuntu Theater Project’s production of Katori Hall’s ‘Hurt Village.’ \u003ccite>(Photo: Colin Battel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ubuntu Theater Project productions erupt from the most fervent concerns of our times and demand attention, not because the issues are important (though they are), but because Ubuntu gives them such potent theatrical expression. The company’s artists understand that political art means nothing unless it’s great art. Ubuntu’s take on Frank Galati’s adaption of John Steinbeck’s \u003cem>The Grapes of Wrath, \u003c/em>and its production of an \u003cem>Othello\u003c/em> set in a rug store were terrific large cast affairs. But it was Katori Hall’s \u003cem>Hurt Village\u003c/em> that blew the lid off the party. Buoyed by a terrific cast and two astounding performances by Chaz Shermil and Jasmine Hughes, Hall’s tale of the destruction of a West Memphis housing project demanded that we at least recognize two facts: one, that we’re living in a world where the least powerful are routinely destroyed; and two, that we’re all playing a role in that destruction.\u003c/p>\n\u003cp>\u003cstrong>Shotgun Players’ \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>by Edward Albee\u003cem> \u003c/em>at The\u003c/strong>\u003cstrong> Ashby Stage, Berkeley (Oct. 12, 2016 – Jan. 17, 2017)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12511210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12511210\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-800x450.jpg\" alt=\"(L to R) Nick (Josh Schenell) and Honey (Megan Trout ) get a little lesson from Martha (Beth Wilmurt) on drinking and life in 'Who's Afraid of Virginia Woolf?'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nick (Josh Schenell) and Honey (Megan Trout ) get a little lesson from Martha (Beth Wilmurt) on drinking and life in ‘Who’s Afraid of Virginia Woolf?’ \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shotgun Player’s five-play repertory season is a masterpiece of programming and execution on the part of artistic director and founder Patrick Dooley and his team of directors, actors, designers, stage managers, and box office personnel. All the plays and productions have taken strange and inordinate risks, and none more so than director Mark Jackson’s stripped-to-the-bone \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>With a set consisting of only a staircase and a luminous rack of liquor, Jackson sets Albee’s iconic characters free. Unchained from realist decor, George, Martha, Nick, and Honey take on the fury of warring Greek gods. And somehow, through a kind of magic, the characters seem all the more human for it. The show is a pure and unrelenting act of imagination on the part of everyone involved — and you can still see it into early next year. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>Though most of the shows in this year-end round-up have come and gone, you can still catch two of them:\u003c/p>\n\u003cp>\u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> runs through Tuesday, Jan. 17 at the Ashby Stage in Berkeley. For tickets and information \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">click here\u003c/a>.\u003c/p>\n\u003cp>Tom Sachs’ performance/demonstration of \u003cem>Space Program: Europa\u003c/em> plays once more on Friday, Jan. 13 at YBCA in San Francisco. For tickets and information \u003ca href=\"https://ybca.org/whats-on/space-program-europa-live-demonstration\">click here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "From a pared down take on Edward Albee's 'Who's Afraid of Virginia Woolf?' at Shotgun Players to a six-hour long demonstration of an interplanetary mission at Yerba Buena Center for the Arts, our critic shares his favorite performing arts experiences of the past year.",
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"title": "The Startling Brilliance of a Somewhat Troubled Year: Bay Area Theater in 2016 | KQED",
"description": "From a pared down take on Edward Albee's 'Who's Afraid of Virginia Woolf?' at Shotgun Players to a six-hour long demonstration of an interplanetary mission at Yerba Buena Center for the Arts, our critic shares his favorite performing arts experiences of the past year.",
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"headline": "The Startling Brilliance of a Somewhat Troubled Year: Bay Area Theater in 2016",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brilliance makes its own rules, goes where it wants, and disappears all too soon. After seeing thousands of productions, I sometimes think I’ve seen it all. But these six pieces, well, I just never imagined anything like them. So here’s to the singular and brilliant theater of our somewhat troubled 2016.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Playhouse’s \u003cem>The Rules\u003c/em> by Dipika Guha at The Creativity Theater, San Francisco (Jun. 22 – Jul. 5, 2016)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12510998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12510998\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-800x416.jpg\" alt=\"Julia (Karen Offereins), Ana (Sarah Moser), and Mehr (Amy Lizardo) get excited about Ana’s second date.\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TheRules_4-1-e1482259667804.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia (Karen Offereins), Ana (Sarah Moser), and Mehr (Amy Lizardo) get excited about Ana’s second date. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first five minutes of Dipika Guha’s \u003cem>The Rules\u003c/em> have the feel of a poorly written soap opera. But the show quickly becomes compelling, then gripping, then hypnotic. And so this poorly written soap opera ends up being the most beautiful and artful one you could ever imagine. SF Playhouse artistic director Bill English’s commitment to showcasing new plays and playwrights isn’t always successful, but it shouldn’t be. When a play like \u003cem>The Rules\u003c/em> comes along, you realize how vital and important the company’s “Sand Box” series of new works is.\u003c/p>\n\u003cp>\u003cstrong>Kevin Rolston’s \u003cem>Deal with the Dragon \u003c/em>at T\u003c/strong>\u003cstrong>he Costume Shop, San Francisco (Mar. 25-Apr. 16, 2016)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12511009\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12511009\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621.jpg\" alt=\"Kevin Rolston (Brenn) starts to feel the beast within in 'Deal with the Dragon.'\" width=\"719\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/dragon1-e1482260392621-520x292.jpg 520w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Rolston (Brenn) starts to feel the beast within in ‘Deal with the Dragon.’ \u003ccite>(Photo: Kenny Yun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We tend to think of theater as existing in the moment, but much of our experience of it is after the fact. And Kevin Rolston’s \u003cem>Deal with the Dragon\u003c/em> gave me more after-the-fact pleasure than any other play this year. I just couldn’t stop thinking about all the sly ways this show burrowed into my mind, such as the AA meltdown of the drug addled artist Gandy Schwartz that anchors the middle section. Many people helped Rolston develop \u003cem>Deal with the Dragon\u003c/em>, but in the end this was a self-produced enterprise. Theaters should have been fighting for the right to even have a chance to produce Rolston’s show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tom Sachs’ \u003cem>Space Program: Europa \u003c/em>at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cstrong> (Sep.16, 2016 – Jan. 13, 2017)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12511011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12511011\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-800x416.jpg\" alt=\"Astronauts explore Jupiter's icy moon, Europa, and the YBCA galleries.\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tom-Sachs45-e1482260960171.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Astronauts explore Jupiter’s icy moon, Europa, and the YBCA galleries. \u003ccite>(Photo: Joshua White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Six hours is a long time for a performance that claims to be only a demonstration. Yet, one could equally claim that any mission that manages to send us to Europa, Jupiter’s icy moon, and back to earth in less than a day is time wisely spent — especially when it includes astronauts spooning to Al Green, the discovery of the first extraterrestrial Noguchi sculpture, the brilliant use of a Hibachi grill, and a Japanese tea ceremony. Tom Sachs’ \u003cem>Space Program: Europa\u003c/em> is a grand stunt of conceptual beauty. And it’s so joyous that it will make you embrace the most dangerous aspects of the human imagination. And there’s still one more opportunity to catch Sachs’ intergalactic demo, on Friday, Jan. 13.\u003c/p>\n\u003cp>\u003cstrong>Circo Zero’s \u003cem>future friend/ships\u003c/em> by Keith Hennessy and Jassem Hindi at \u003c/strong>\u003cstrong>Counterpulse, San Francisco (Dec. 15 – 17, 2016)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12511018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12511018\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-800x416.jpg\" alt=\"Jassem Hindi (Masked Man) speaks of Arab futurism in 'future friend/ship.'\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hennesey-e1482261736843.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jassem Hindi (Masked Man) speaks of Arab futurism in ‘future friend/ship.’ \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anything that Keith Hennessy participates in should be prefaced with the words “breakthrough” and “damage.” Other artists take on serious subjects, but only Hennessy and his many collaborators (in this case, a sly and magnetic Jassem Hindi) seem to get inside the experience and risk actually living it. It’s as if anthropology suddenly turned into a dangerous art form. In the 70-minute \u003cem>future friend/ships\u003c/em>, we take a journey into an Arab future that includes and transcends drones, birds of prey, and astronauts. The connection between friendship, flight, and the future has the haphazard charm of science fiction, as well as all the genre’s prophetic and tragic force. Hennessy and Hindi’s piece is both a radical dream of a possible time to come and a dismal depiction of the world as it is now.\u003c/p>\n\u003cp>\u003cstrong>Ubunthu Theater Project’s \u003cem>Hurt\u003c/em> \u003cem>Village \u003c/em>by Katori Hall at \u003c/strong>\u003cstrong>Grace Temple Church, Oakland (Jul 15 – 31, 2016)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12511207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12511207\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-800x416.jpg\" alt=\"Crank (Jasmine Hughes) tries to center herself in the Ubuntu Theater Project's production of Katori Hall's 'Hurt Village.'\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Hurt-Village-3-e1482262502961.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crank (Jasmine Hughes) tries to center herself in the Ubuntu Theater Project’s production of Katori Hall’s ‘Hurt Village.’ \u003ccite>(Photo: Colin Battel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ubuntu Theater Project productions erupt from the most fervent concerns of our times and demand attention, not because the issues are important (though they are), but because Ubuntu gives them such potent theatrical expression. The company’s artists understand that political art means nothing unless it’s great art. Ubuntu’s take on Frank Galati’s adaption of John Steinbeck’s \u003cem>The Grapes of Wrath, \u003c/em>and its production of an \u003cem>Othello\u003c/em> set in a rug store were terrific large cast affairs. But it was Katori Hall’s \u003cem>Hurt Village\u003c/em> that blew the lid off the party. Buoyed by a terrific cast and two astounding performances by Chaz Shermil and Jasmine Hughes, Hall’s tale of the destruction of a West Memphis housing project demanded that we at least recognize two facts: one, that we’re living in a world where the least powerful are routinely destroyed; and two, that we’re all playing a role in that destruction.\u003c/p>\n\u003cp>\u003cstrong>Shotgun Players’ \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>by Edward Albee\u003cem> \u003c/em>at The\u003c/strong>\u003cstrong> Ashby Stage, Berkeley (Oct. 12, 2016 – Jan. 17, 2017)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12511210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12511210\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-800x450.jpg\" alt=\"(L to R) Nick (Josh Schenell) and Honey (Megan Trout ) get a little lesson from Martha (Beth Wilmurt) on drinking and life in 'Who's Afraid of Virginia Woolf?'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Woolf4-e1482263373892.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nick (Josh Schenell) and Honey (Megan Trout ) get a little lesson from Martha (Beth Wilmurt) on drinking and life in ‘Who’s Afraid of Virginia Woolf?’ \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shotgun Player’s five-play repertory season is a masterpiece of programming and execution on the part of artistic director and founder Patrick Dooley and his team of directors, actors, designers, stage managers, and box office personnel. All the plays and productions have taken strange and inordinate risks, and none more so than director Mark Jackson’s stripped-to-the-bone \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>With a set consisting of only a staircase and a luminous rack of liquor, Jackson sets Albee’s iconic characters free. Unchained from realist decor, George, Martha, Nick, and Honey take on the fury of warring Greek gods. And somehow, through a kind of magic, the characters seem all the more human for it. The show is a pure and unrelenting act of imagination on the part of everyone involved — and you can still see it into early next year. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>Though most of the shows in this year-end round-up have come and gone, you can still catch two of them:\u003c/p>\n\u003cp>\u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> runs through Tuesday, Jan. 17 at the Ashby Stage in Berkeley. For tickets and information \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">click here\u003c/a>.\u003c/p>\n\u003cp>Tom Sachs’ performance/demonstration of \u003cem>Space Program: Europa\u003c/em> plays once more on Friday, Jan. 13 at YBCA in San Francisco. For tickets and information \u003ca href=\"https://ybca.org/whats-on/space-program-europa-live-demonstration\">click here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"excerpt": "In his new book, \"Showstoppers! The Surprising Backstage Stories of Broadway's Most Remarkable Songs,\" critic Gerald Nachman draws on in-depth interviews with icons of musical theater to explore what makes certain songs \"knock us out\" and send audiences home humming. These tunes \"often become a vital part of Americana, firmly lodged in the country's collective memory\" he writes. We talk with Nachman about his favorite hits, his 50 years as a theater critic and what worries him about today's musicals.",
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12409450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg\" alt=\"art_nerd-holidayguide-2016\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Let’s face it, 2016 has been a tough year. If your friends and family are anything like mine, they’ve been stressed out by the untimely deaths of David Bowie and Prince, the contentious election season, police brutality, a rise in hate crimes and ongoing social injustice. It can be totally overwhelming, and coming up with holiday gifts seems especially challenging this year.\u003c/p>\n\u003cp>Self-care is important of course, and those who are most vulnerable may need a gentle nudge to remember to take care of themselves. This holiday season perhaps the kindest thing to do is to not give our loved ones more stuff but to help them to take time out and relax.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448282\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-800x800.jpg\" alt=\"Bellocq Tea Atelier\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens.jpg 1383w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bellocq Tea Atelier, based in Brooklyn, makes many appealing herbal blends. \u003ccite>(Photo: Bellocq Tea Atelier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Tea\u003c/h3>\n\u003cp>For several years running, I’ve been gifting my close friends and family tea blends from \u003ca href=\"http://www.bellocq.com/collections/tea-collections\" target=\"_blank\" rel=\"noopener\">Bellocq Tea Atelier\u003c/a>. The Brooklyn-based company has seasonal offerings such as \u003ca href=\"http://www.bellocq.com/collections/black-blends/products/no-44-bellocq-christmas\" target=\"_blank\" rel=\"noopener\">Bellocq Christmas\u003c/a> (a black tea with cinnamon and rose petals) and \u003ca href=\"http://www.bellocq.com/collections/herbal-blends/products/no-42-little-dickens\" target=\"_blank\" rel=\"noopener\">Little Dickens\u003c/a> (a rooibos blend with mint and chocolate.)\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bellocq.com/collections/herbal-blends\" target=\"_blank\" rel=\"noopener\">herbal blends\u003c/a> are a calming option, especially \u003ca href=\"http://www.bellocq.com/collections/herbal-blends/products/no-12-le-hammeau\" target=\"_blank\" rel=\"noopener\">Le Hammeau\u003c/a>, which includes soothing lemongrass, chamomile, and lavender. The packaging is very pretty — even the simple brown atelier bag with blue lettering and handwritten label is charming.\u003c/p>\n\u003cp>Another idea in this vein is taking your loved one to afternoon tea in San Francisco. \u003ca href=\"http://www.fairmont.com/san-francisco/dining/afternoon-tea-at-the-fairmont/\" target=\"_blank\" rel=\"noopener\">The Fairmont\u003c/a>, \u003ca href=\"http://www.sfpalace.com/signature-tea-san-francisco/\" target=\"_blank\" rel=\"noopener\">Palace\u003c/a>, and \u003ca href=\"http://www.ritzcarlton.com/en/hotels/california/san-francisco/dining/afternoon-tea-in-the-lounge\" target=\"_blank\" rel=\"noopener\">Ritz-Carlton\u003c/a> are the fancy options, while \u003ca href=\"http://www.lovejoystearoom.com\" target=\"_blank\" rel=\"noopener\">Lovejoy’s\u003c/a> is a cozier and more offbeat choice.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448281\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448281\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-800x500.jpg\" alt=\"San Francisco Ballet's Nutcracker\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet’s Nutcracker is a perennial favorite for the holiday season. \u003ccite>(Photo: Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Performances\u003c/h3>\n\u003cp>The performing arts are a source of solace for many, myself included. There’s something transcendental about sitting in a huge hall and experiencing live music, dance, or theater. Why not take the family to \u003ca href=\"https://www.sfballet.org/season/nutcracker/nutcracker\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet’s \u003cem>Nutcracker\u003c/em>\u003c/a> (Dec. 10 – 29) or head to San Francisco Symphony for \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2014-2015/Christmas-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">\u003cem>A Charlie Brown Christmas\u003c/em>\u003c/a> (Dec. 21-24)? For those who want a less Christmasy time, there’s \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=thelionking&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">The Lion King\u003c/a>, \u003c/em> which goes until New Year’s Eve, or \u003ca href=\"https://shotgunplayers.org/Online/2016discounts\" target=\"_blank\" rel=\"noopener\">Shotgun Players’ Rep Fest\u003c/a>, in which the audacious Berkeley-based theater company performs all five plays of its present season on consecutive nights, through Jan. 22.\u003c/p>\n\u003cp>You can also gift tickets to the people you love for shows happening months in the future. One of my standard gifts for a close friend is tickets for \u003ca href=\"https://calperformances.org/performances/2016-17/dance/alvin-ailey-american-dance-theater.php\" target=\"_blank\" rel=\"noopener\">Alvin Ailey Dance Theater\u003c/a>, as the company always comes to Cal Performances in the spring while on tour. Another idea is to try and \u003ca href=\"https://ww2.kqed.org/arts/2016/11/30/ticket-alert-hamilton-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">score tickets\u003c/a> to \u003ca href=\"https://www.hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a>, which comes to San Francisco in March. Though you’ll need quite a bit of luck, not to mention spare cash to make that happen.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448280\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448280\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-800x404.jpg\" alt=\"Hero Yellow Fish\" width=\"800\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-800x404.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-768x388.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-1020x515.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-1180x596.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-960x485.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-240x121.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-375x189.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-520x263.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Steinhart Aquarium, part of the California Academy of Sciences, can be a very calming spot. \u003ccite>(Photo: Kathryn Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Aquarium Membership\u003c/h3>\n\u003cp>One of the calmest places in all of San Francisco must be \u003ca href=\"http://www.calacademy.org/become-a-member\" target=\"_blank\" rel=\"noopener\">Cal Academy\u003c/a>‘s \u003ca href=\"http://www.calacademy.org/exhibits/steinhart-aquarium\" target=\"_blank\" rel=\"noopener\">Steinhart Aquarium\u003c/a> during members-only hours on Sunday and Tuesday mornings. The Philippine Coral Reef is completely serene — you can just watch the jewel-like fish flit back and forth. I also love to space out in the tranquil Amazon Flooded Forest. The installation has a soothing effect on my toddler, who can sit surrounded by the “fish tunnel” as he calls it for a full hour.\u003c/p>\n\u003cp>A membership to the \u003ca href=\"http://www.montereybayaquarium.org/support-us/membership\" target=\"_blank\" rel=\"noopener\">Monterey Bay Aquarium\u003c/a> is also a fine option, especially if you live in the South Bay. Watching the\u003ca href=\"https://www.montereybayaquarium.org/animal-guide/invertebrates/jellies\" target=\"_blank\" rel=\"noopener\"> undulating jellies\u003c/a> is a good way to take a break and be in the moment. If you are further north, you can use the membership as an excuse for a weekend away.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448277\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448277\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-800x485.jpg\" alt=\"Jordan's Kitchen\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1920x1165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1180x716.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-520x315.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jordan’s Kitchen holds popular cooking classes, including those for children, in San Francisco. \u003ccite>(Photo: Jordan's Kitchen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Cooking Classes\u003c/h3>\n\u003cp>Cooking can be daunting for the uninitiated, and I would have never guessed in my single days, when my fridge only had beer and ketchup in it, that making your own meals can be quite meditative. Taking a cooking class can give those with less confidence in the kitchen that extra encouragement to create their own menus. What could be more in line with self-care than figuring out what goes into your own body?\u003c/p>\n\u003cp>It’s easy enough to give that special person a \u003ca href=\"http://jordanskitchensf.com/san-francisco-cooking-class-gift-certificates/\" target=\"_blank\" rel=\"noopener\">gift certificate\u003c/a> for \u003ca href=\"http://jordanskitchensf.com/cooking-classes-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Jordan’s Kitchen\u003c/a> in SOMA, which covers everything from knife skills to Thai cooking. The school also offers Valentine’s Day classes to share with a significant other or close friend.\u003c/p>\n\u003cp>Another option is \u003ca href=\"https://www.cozymeal.com/gift-cards\" target=\"_blank\" rel=\"noopener\">Cozymeal\u003c/a>, which features classes from both local and traveling chefs. This can also make a great activity for a group of friends, adding a social component to the gift. Sometimes spending time together is a gift unto itself.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448278\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/earthbody-roses.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/earthbody-roses-800x533.jpg\" alt=\"EarthBody Day Spa\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">EarthBody is an organic day spa in Hayes Valley with an ayurvedic bent. \u003ccite>(Photo: EarthBody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Spa Treatments\u003c/h3>\n\u003cp>A trip to the spa is the perfect way to reduce stress, and a gift certificate provides an easy step towards taking care of one’s self. I like \u003ca href=\"https://www.secure-booker.com/earthbody/ShopOnline/GiftCertificate.aspx\" target=\"_blank\" rel=\"noopener\">EarthBody Day Spa\u003c/a>, which is an oasis of stillness in bustling Hayes Valley. Treatments include massages and facials using handcrafted organic products with a nod to ayurvedic traditions. Others swear by Korean style spas like \u003ca href=\"http://imperialdayspa.com\" target=\"_blank\" rel=\"noopener\">Imperial Day Spa\u003c/a> in Japantown, which is known for its scrubs and acupressure massages.\u003c/p>\n\u003cp>Another option is making this gift an escape to nearby Napa for a day at one of the region’s fancy hotel spas. I’ve taken family members to \u003ca href=\"https://www.indianspringscalistoga.com/spa/\" target=\"_blank\" rel=\"noopener\">Indian Springs\u003c/a> in Calistoga, which has mud and mineral baths and some seriously intense deep tissue massages on offer. You can spend the rest of your time in their Olympic-sized mineral pool, which is a toasty 82–102 degrees.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Let's face it, 2016 has been a tough year and we all need to give ourselves some \"me time.\"",
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"title": "Take It Easy: Holiday Gifts for the Stressed | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12409450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg\" alt=\"art_nerd-holidayguide-2016\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Let’s face it, 2016 has been a tough year. If your friends and family are anything like mine, they’ve been stressed out by the untimely deaths of David Bowie and Prince, the contentious election season, police brutality, a rise in hate crimes and ongoing social injustice. It can be totally overwhelming, and coming up with holiday gifts seems especially challenging this year.\u003c/p>\n\u003cp>Self-care is important of course, and those who are most vulnerable may need a gentle nudge to remember to take care of themselves. This holiday season perhaps the kindest thing to do is to not give our loved ones more stuff but to help them to take time out and relax.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448282\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-800x800.jpg\" alt=\"Bellocq Tea Atelier\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/bellocq-little-dickens.jpg 1383w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bellocq Tea Atelier, based in Brooklyn, makes many appealing herbal blends. \u003ccite>(Photo: Bellocq Tea Atelier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Tea\u003c/h3>\n\u003cp>For several years running, I’ve been gifting my close friends and family tea blends from \u003ca href=\"http://www.bellocq.com/collections/tea-collections\" target=\"_blank\" rel=\"noopener\">Bellocq Tea Atelier\u003c/a>. The Brooklyn-based company has seasonal offerings such as \u003ca href=\"http://www.bellocq.com/collections/black-blends/products/no-44-bellocq-christmas\" target=\"_blank\" rel=\"noopener\">Bellocq Christmas\u003c/a> (a black tea with cinnamon and rose petals) and \u003ca href=\"http://www.bellocq.com/collections/herbal-blends/products/no-42-little-dickens\" target=\"_blank\" rel=\"noopener\">Little Dickens\u003c/a> (a rooibos blend with mint and chocolate.)\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bellocq.com/collections/herbal-blends\" target=\"_blank\" rel=\"noopener\">herbal blends\u003c/a> are a calming option, especially \u003ca href=\"http://www.bellocq.com/collections/herbal-blends/products/no-12-le-hammeau\" target=\"_blank\" rel=\"noopener\">Le Hammeau\u003c/a>, which includes soothing lemongrass, chamomile, and lavender. The packaging is very pretty — even the simple brown atelier bag with blue lettering and handwritten label is charming.\u003c/p>\n\u003cp>Another idea in this vein is taking your loved one to afternoon tea in San Francisco. \u003ca href=\"http://www.fairmont.com/san-francisco/dining/afternoon-tea-at-the-fairmont/\" target=\"_blank\" rel=\"noopener\">The Fairmont\u003c/a>, \u003ca href=\"http://www.sfpalace.com/signature-tea-san-francisco/\" target=\"_blank\" rel=\"noopener\">Palace\u003c/a>, and \u003ca href=\"http://www.ritzcarlton.com/en/hotels/california/san-francisco/dining/afternoon-tea-in-the-lounge\" target=\"_blank\" rel=\"noopener\">Ritz-Carlton\u003c/a> are the fancy options, while \u003ca href=\"http://www.lovejoystearoom.com\" target=\"_blank\" rel=\"noopener\">Lovejoy’s\u003c/a> is a cozier and more offbeat choice.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448281\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448281\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-800x500.jpg\" alt=\"San Francisco Ballet's Nutcracker\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/nutcracker-sf-ballet.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet’s Nutcracker is a perennial favorite for the holiday season. \u003ccite>(Photo: Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Performances\u003c/h3>\n\u003cp>The performing arts are a source of solace for many, myself included. There’s something transcendental about sitting in a huge hall and experiencing live music, dance, or theater. Why not take the family to \u003ca href=\"https://www.sfballet.org/season/nutcracker/nutcracker\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet’s \u003cem>Nutcracker\u003c/em>\u003c/a> (Dec. 10 – 29) or head to San Francisco Symphony for \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2014-2015/Christmas-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">\u003cem>A Charlie Brown Christmas\u003c/em>\u003c/a> (Dec. 21-24)? For those who want a less Christmasy time, there’s \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=thelionking&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">The Lion King\u003c/a>, \u003c/em> which goes until New Year’s Eve, or \u003ca href=\"https://shotgunplayers.org/Online/2016discounts\" target=\"_blank\" rel=\"noopener\">Shotgun Players’ Rep Fest\u003c/a>, in which the audacious Berkeley-based theater company performs all five plays of its present season on consecutive nights, through Jan. 22.\u003c/p>\n\u003cp>You can also gift tickets to the people you love for shows happening months in the future. One of my standard gifts for a close friend is tickets for \u003ca href=\"https://calperformances.org/performances/2016-17/dance/alvin-ailey-american-dance-theater.php\" target=\"_blank\" rel=\"noopener\">Alvin Ailey Dance Theater\u003c/a>, as the company always comes to Cal Performances in the spring while on tour. Another idea is to try and \u003ca href=\"https://ww2.kqed.org/arts/2016/11/30/ticket-alert-hamilton-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">score tickets\u003c/a> to \u003ca href=\"https://www.hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a>, which comes to San Francisco in March. Though you’ll need quite a bit of luck, not to mention spare cash to make that happen.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448280\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448280\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-800x404.jpg\" alt=\"Hero Yellow Fish\" width=\"800\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-800x404.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-768x388.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-1020x515.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-1180x596.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-960x485.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-240x121.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-375x189.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/sa_lg_hero_yellow_fish-520x263.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Steinhart Aquarium, part of the California Academy of Sciences, can be a very calming spot. \u003ccite>(Photo: Kathryn Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Aquarium Membership\u003c/h3>\n\u003cp>One of the calmest places in all of San Francisco must be \u003ca href=\"http://www.calacademy.org/become-a-member\" target=\"_blank\" rel=\"noopener\">Cal Academy\u003c/a>‘s \u003ca href=\"http://www.calacademy.org/exhibits/steinhart-aquarium\" target=\"_blank\" rel=\"noopener\">Steinhart Aquarium\u003c/a> during members-only hours on Sunday and Tuesday mornings. The Philippine Coral Reef is completely serene — you can just watch the jewel-like fish flit back and forth. I also love to space out in the tranquil Amazon Flooded Forest. The installation has a soothing effect on my toddler, who can sit surrounded by the “fish tunnel” as he calls it for a full hour.\u003c/p>\n\u003cp>A membership to the \u003ca href=\"http://www.montereybayaquarium.org/support-us/membership\" target=\"_blank\" rel=\"noopener\">Monterey Bay Aquarium\u003c/a> is also a fine option, especially if you live in the South Bay. Watching the\u003ca href=\"https://www.montereybayaquarium.org/animal-guide/invertebrates/jellies\" target=\"_blank\" rel=\"noopener\"> undulating jellies\u003c/a> is a good way to take a break and be in the moment. If you are further north, you can use the membership as an excuse for a weekend away.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448277\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448277\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-800x485.jpg\" alt=\"Jordan's Kitchen\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1920x1165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-1180x716.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse-520x315.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jordans-kitchen-mousse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jordan’s Kitchen holds popular cooking classes, including those for children, in San Francisco. \u003ccite>(Photo: Jordan's Kitchen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Cooking Classes\u003c/h3>\n\u003cp>Cooking can be daunting for the uninitiated, and I would have never guessed in my single days, when my fridge only had beer and ketchup in it, that making your own meals can be quite meditative. Taking a cooking class can give those with less confidence in the kitchen that extra encouragement to create their own menus. What could be more in line with self-care than figuring out what goes into your own body?\u003c/p>\n\u003cp>It’s easy enough to give that special person a \u003ca href=\"http://jordanskitchensf.com/san-francisco-cooking-class-gift-certificates/\" target=\"_blank\" rel=\"noopener\">gift certificate\u003c/a> for \u003ca href=\"http://jordanskitchensf.com/cooking-classes-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Jordan’s Kitchen\u003c/a> in SOMA, which covers everything from knife skills to Thai cooking. The school also offers Valentine’s Day classes to share with a significant other or close friend.\u003c/p>\n\u003cp>Another option is \u003ca href=\"https://www.cozymeal.com/gift-cards\" target=\"_blank\" rel=\"noopener\">Cozymeal\u003c/a>, which features classes from both local and traveling chefs. This can also make a great activity for a group of friends, adding a social component to the gift. Sometimes spending time together is a gift unto itself.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12448278\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/earthbody-roses.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12448278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/earthbody-roses-800x533.jpg\" alt=\"EarthBody Day Spa\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/earthbody-roses.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">EarthBody is an organic day spa in Hayes Valley with an ayurvedic bent. \u003ccite>(Photo: EarthBody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Spa Treatments\u003c/h3>\n\u003cp>A trip to the spa is the perfect way to reduce stress, and a gift certificate provides an easy step towards taking care of one’s self. I like \u003ca href=\"https://www.secure-booker.com/earthbody/ShopOnline/GiftCertificate.aspx\" target=\"_blank\" rel=\"noopener\">EarthBody Day Spa\u003c/a>, which is an oasis of stillness in bustling Hayes Valley. Treatments include massages and facials using handcrafted organic products with a nod to ayurvedic traditions. Others swear by Korean style spas like \u003ca href=\"http://imperialdayspa.com\" target=\"_blank\" rel=\"noopener\">Imperial Day Spa\u003c/a> in Japantown, which is known for its scrubs and acupressure massages.\u003c/p>\n\u003cp>Another option is making this gift an escape to nearby Napa for a day at one of the region’s fancy hotel spas. I’ve taken family members to \u003ca href=\"https://www.indianspringscalistoga.com/spa/\" target=\"_blank\" rel=\"noopener\">Indian Springs\u003c/a> in Calistoga, which has mud and mineral baths and some seriously intense deep tissue massages on offer. You can spend the rest of your time in their Olympic-sized mineral pool, which is a toasty 82–102 degrees.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Traditional Christmas Pageant, With a Modern Political Twist",
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"content": "\u003cp>Every Christmas, communities across California put their own stamp on \u003cem>las posadas\u003c/em>, traditional Mexican processions to celebrate the nativity. This weekend in Sacramento, one of those processions starts off on the streets, and then heads into a theater. In \u003ca href=\"http://www.crestsacramento.com/event/1377060-la-pastorela-de-sactown-sacramento/\">“La Pastorela de Sactown,”\u003c/a> a bilingual cast of musicians and actors will stage a satirical holiday musical about three shepherds, with very modern lives.\u003c/p>\n\u003cp>There’s the Mexican-American assemblyman caught up in a scandal (Elio Gutierrez), the single mom who works in an office (Olivia Chavez), and a landlord who speaks only Spanish as a way to reflect his pride in his culture (Joaquin Aranda). They’re caught between the devil and an archangel, who shows up as an activist and tasks them with helping an undocumented homeless couple expecting a baby.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/298280459″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“Given the political climate right now, it’s a perfect take on an old story,” says director Wilma Bonet. “Pastorelas are always about the angels and the devils, and people making decisions about what’s right and what’s wrong. During the holidays, this story reminds you that there’s more than just a ‘me-me-me’ society.”\u003c/p>\n\u003cfigure id=\"attachment_11220154\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11220154\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-800x1237.jpg\" alt='\"La Pastorela de Sactown\" tells the story of the Christmas nativity, with a modern political twist. ' width=\"800\" height=\"1237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-800x1237.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-520x804.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut.jpg 841w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“La Pastorela de Sactown” tells the story of the Christmas nativity, with a modern political twist. \u003ccite>(Hector Navejas )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bonet and others involved in the production are former members of the \u003ca href=\"http://www.sfmt.org/company/index.php\">San Francisco Mime Troupe\u003c/a>, known for reflecting modern-day political events through popular theater. And this piece echoes that spirit, transforming heavy political commentary into a show that’s slapstick and lighthearted. And this production is fully bilingual, with glittery costumes and a whole lot of singing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "In 'La Pastorela de Sactown,' three contemporary 'shepherds' are challenged to help an undocumented homeless couple.",
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"title": "A Traditional Christmas Pageant, With a Modern Political Twist | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every Christmas, communities across California put their own stamp on \u003cem>las posadas\u003c/em>, traditional Mexican processions to celebrate the nativity. This weekend in Sacramento, one of those processions starts off on the streets, and then heads into a theater. In \u003ca href=\"http://www.crestsacramento.com/event/1377060-la-pastorela-de-sactown-sacramento/\">“La Pastorela de Sactown,”\u003c/a> a bilingual cast of musicians and actors will stage a satirical holiday musical about three shepherds, with very modern lives.\u003c/p>\n\u003cp>There’s the Mexican-American assemblyman caught up in a scandal (Elio Gutierrez), the single mom who works in an office (Olivia Chavez), and a landlord who speaks only Spanish as a way to reflect his pride in his culture (Joaquin Aranda). They’re caught between the devil and an archangel, who shows up as an activist and tasks them with helping an undocumented homeless couple expecting a baby.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/298280459″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/298280459″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Given the political climate right now, it’s a perfect take on an old story,” says director Wilma Bonet. “Pastorelas are always about the angels and the devils, and people making decisions about what’s right and what’s wrong. During the holidays, this story reminds you that there’s more than just a ‘me-me-me’ society.”\u003c/p>\n\u003cfigure id=\"attachment_11220154\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11220154\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-800x1237.jpg\" alt='\"La Pastorela de Sactown\" tells the story of the Christmas nativity, with a modern political twist. ' width=\"800\" height=\"1237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-800x1237.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut-520x804.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23312_La-Pastorela-de-Sactown-ENGLISH-web-qut.jpg 841w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“La Pastorela de Sactown” tells the story of the Christmas nativity, with a modern political twist. \u003ccite>(Hector Navejas )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bonet and others involved in the production are former members of the \u003ca href=\"http://www.sfmt.org/company/index.php\">San Francisco Mime Troupe\u003c/a>, known for reflecting modern-day political events through popular theater. And this piece echoes that spirit, transforming heavy political commentary into a show that’s slapstick and lighthearted. And this production is fully bilingual, with glittery costumes and a whole lot of singing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Holiday Plays are Often as Perilous as the Holiday Season",
"headTitle": "Why Holiday Plays are Often as Perilous as the Holiday Season | KQED",
"content": "\u003cp>The holiday tale is a tricky beast. We need stories that promise warmth and comfort — an escape from the cold, dark days of winter. And yet they also have to have a bite to them, a recognition that death is always a hair’s breath away. \u003cem>The Wizard of Oz\u003c/em> would mean nothing without the threat of the Witch killing Dorothy; and \u003cem>It’s a Wonderful Life\u003c/em> is the story of a good man one slight step away from suicide.\u003c/p>\n\u003cp>These are the tensions that theater companies must navigate when producing holiday shows. Audiences are wary of simple happiness, and yet not particularly eager to embrace the brutal nature of the the season. As three recent productions — \u003cem>Sons of the Prophet\u003c/em>, \u003cem>Paradise Street\u003c/em>, and \u003cem>946: The Amazing Story of Adolphous Tips\u003c/em> — show, that balance is delicate and not at all easy to achieve.\u003c/p>\n\u003ch3>Symbolism-heavy, sitcom-laced ‘Sons of the Prophet’\u003c/h3>\n\u003cp>Receiving its Bay Area premiere in a well acted production at San Francisco’s New Conservatory Theatre Center, Stephen Karam’s much lauded \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Sons-of-the-Prophet\" target=\"_blank\" rel=\"noopener\">\u003cem>Sons of the Prophet \u003c/em>\u003c/a>takes it as a given that we are all the children of chaos and despair. He fills his play with soothsayers, storms, unrequited love, threats of illness, economic uncertainty, a craven journalist, and game attempts to forgive the failures of good and bad alike.\u003c/p>\n\u003cfigure id=\"attachment_12471527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-800x450.jpg\" alt=\"Brothers Joseph (Eric Kerr) and Charles (Stephen Kanaski) sit between the fake deer that started their downfall in New Conservatory Theatre's production of 'Sons of the Prophet' by Stephen Karam.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Joseph (Eric Kerr) and Charles (Stephen Kanaski) sit between the fake deer that started their troubles in the New Conservatory Theatre’s production of ‘Sons of the Prophet’ by Stephen Karam. \u003ccite>(Photo: Lois Tema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But most importantly, there is the death of a beloved father and brother, and the fear that after that nothing will ever be right again. As we might expect and enjoy, his sons — Joseph and Charles — and their Uncle Bill struggle to both reconstitute and remain a family. The stable Joseph is uninsured and suffering from nerve damage, Bill is aging fast, and the delightful 18-year old Charles is still in need of care, both emotionally and economically.\u003c/p>\n\u003cp>Their problems are nagging and mundane. But the Pennsylvanian landscape of the play’s setting, littered with an Old Testament’s worth of cities — Bethlehem, Jordan, Egypt, and Lebanon — bristles with a somber magic. Karam suggests that all this has happened before, that we walk in our ancestors’ footsteps, and that our memories of them are both painful and soothing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can feel the symbolic force of the writing and you’re ready to be swept up by it. Unfortunately, everything is stunted by the playwright’s reliance on sitcom aesthetics. Veering between snappy jokes and sentimental lessons, the force of the drama never takes root. It drifts instead of builds. So despite the winning cast, we can’t quite feel the bite of despair or the warmth of simple kindness.\u003c/p>\n\u003ch3>‘Paradise Street’ energetic, yet untempered\u003c/h3>\n\u003cp>Horror master Clive Barker (\u003cem>Hellraiser\u003c/em>) might seem an unlikely Christmas playwright, and yet the creator of the murderous “Pinhead” certainly understands the mayhem lurking behind holiday cheer. His \u003ca href=\"http://www.theexit.org/paradise-street/\" target=\"_blank\" rel=\"noopener\">\u003cem>Paradise Street\u003c/em>\u003c/a>, receiving its Bay Area premiere under Stuart Bousel’s uneven direction at San Francisco’s Exit Theatre, is a modern take on Ben Jonson’s city comedies, and at its best has the energy and beat of the street.\u003c/p>\n\u003cfigure id=\"attachment_12471535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg\" alt=\"Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theater's production of 'Paradise Street' by Clive Barker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theatre’s production of ‘Paradise Street’ by Clive Barker. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a tale of two brothers who reunite on Christmas eve. The elder, Bonner, is a soldier and the unwise owner of a couple of grenades. The younger, Quinn, is sweet and a jazz musician of no talent, though it doesn’t seem to bother him much. As the boys bumble their way through the night, their adventures are offset by a host of characters with deeper concerns and fears.\u003c/p>\n\u003cp>A homeless Irishman, Mulrooney, has visions of his own death; a lonely, good-natured social worker, Jude, dreams of a better world, both for her clients, and, rather mystically, the universe; and Queen Elizabeth — in full virgin warrior splendor — pops up from the past with an an out of control ape and a regal sense of justice.\u003c/p>\n\u003cp>Barker gets the outlandish beauty of theater and the volatile mixture of hope and despair that Christmas brings. But like Bousel’s production, the play is untempered. Everything is pitched to maximum effect without a corresponding sense of quiet and warmth. And that’s when you know that horror can only take you so far.\u003c/p>\n\u003ch3>‘946: The Amazing Story of Adolphus Tips’ is curiously distancing\u003c/h3>\n\u003cp>British company Kneehigh’s production of \u003ca href=\"http://www.berkeleyrep.org/season/1617/10656.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>946: The Amazing Story of Adolphus Tips\u003c/em>\u003c/a> at Berkeley Repertory Theatre, directed by Emma Rice and co-adapted for the stage by Rice and author Michael Morpurgo from his children’s story, shares similar ambitions to \u003cem>Sons of the Prophet\u003c/em> and \u003cem>Paradise Street. \u003c/em>It is quite self-consciously aware of the strange mixture of warmth and brutality that audiences seem to seek out in the winter.\u003c/p>\n\u003cfigure id=\"attachment_12471729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12471729\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783.jpg\" alt=\"Lily (Katy Owen) reunites with her cat in Kneehigh's production of '946: The Amazing Story of Adophus Tips' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-520x293.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Lily (Katy Owen) reunites with her cat in Kneehigh’s production of ‘946: The Amazing Story of Adophus Tips’ at the Berkeley Rep. \u003ccite>(Photo: Steve Tanner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet, Rice’s take on Morpurgo ‘s tale of 11-year old Lily, her missing cat, and the second world war’s effect on the out-of-the-way English village of Slapton, is so frenzied and intent on making every moment memorable, that the production sacrifices reflection and storytelling for kitsch and pizazz. Rice gives us the requisite blues band, farm animal puppets, overly broad and cutesy acting, and a narrative strategy designed to shed tears every five minutes.\u003c/p>\n\u003cp>The effect of all of this is curiously distancing. We’re asked to react with great emotion over and over again, as the play rushes from one dramatic event to the next. When the husband of the adult Lily dies in the first few scenes, the outsized level of significance of his death is strange. As the cast mournfully sings to “let him go . . . he’s not gone, just gone away,” I felt as if I’d been dragged to a stranger’s funeral.\u003c/p>\n\u003cp>There’s nothing wrong in having characters grieve over a minor one. But Lily’s dead husband is so sketchily presented and irrelevant to the plot that you feel manipulated by the demand to care. And that’s the effect of the whole production — a headlong race to the big moments no matter what. So the many deaths in the play feel haphazard and meaningless. In \u003cem>946\u003c/em>, the loss of a father, husband, comrade, or battalion of innocent men is merely an opportunity to sing and dance in nifty ways.\u003c/p>\n\u003cp>When Rice evokes Bertolt Brecht as both an aesthetic forefather and a spiritual aide — “In the dark times/Will there also be singing?” — it’s hard to tell whether she’s cynical or stupid. And that goes for the call outs to Maya Angelou and Martin Luther King Jr., too. It’s just fluff where content should be.\u003c/p>\n\u003cp>There’s a massive amount of talent on stage, from the actors to the designers, but it’s all in the service of a distasteful infantilizing of the audience. The most telling moment of the evening happens in the middle of the “staged” curtain call, where the actors force the entire theater into a goofy dance-along. That’s what clowns do to children at birthday parties. It’s a disservice to the reality of the world we live in and all those who try to bring true light to the holidays.\u003c/p>\n\u003cp>And so as I was leaving the theater I thought of an elementary school Christmas pageant I’d just seen, and how the story of Christ’s birth catches the balance of what these three pieces are struggling to achieve. Mary and Joseph’s journey to the safety of the manger is sharpened and deepened by the weather. The unrelenting nature of the season is leavened by the birth of a child. The nativity harmonizes these extremes and presents them as one and the same experience, a narrative trick as magical as the story it tells.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sons of the Prophet’ runs through Sunday, Dec. 18 at the New Conservatory Theatre Center in San Francisco. For tickets and information \u003ca href=\"http://www.nctcsf.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘Paradise Street’ runs through Saturday, Dec. 17 at the Exit Theatre in San Francisco. For tickets and information \u003ca href=\"http://www.theexit.org/paradise-street/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘946: The Amazing Story of Adolphus Tips’ runs through Sunday, Jan. 15 at Berkeley Repertory Theatre in Berkeley. For tickets and information \u003ca href=\"http://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The holiday tale is a tricky beast. We need stories that promise warmth and comfort — an escape from the cold, dark days of winter. And yet they also have to have a bite to them, a recognition that death is always a hair’s breath away. \u003cem>The Wizard of Oz\u003c/em> would mean nothing without the threat of the Witch killing Dorothy; and \u003cem>It’s a Wonderful Life\u003c/em> is the story of a good man one slight step away from suicide.\u003c/p>\n\u003cp>These are the tensions that theater companies must navigate when producing holiday shows. Audiences are wary of simple happiness, and yet not particularly eager to embrace the brutal nature of the the season. As three recent productions — \u003cem>Sons of the Prophet\u003c/em>, \u003cem>Paradise Street\u003c/em>, and \u003cem>946: The Amazing Story of Adolphous Tips\u003c/em> — show, that balance is delicate and not at all easy to achieve.\u003c/p>\n\u003ch3>Symbolism-heavy, sitcom-laced ‘Sons of the Prophet’\u003c/h3>\n\u003cp>Receiving its Bay Area premiere in a well acted production at San Francisco’s New Conservatory Theatre Center, Stephen Karam’s much lauded \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Sons-of-the-Prophet\" target=\"_blank\" rel=\"noopener\">\u003cem>Sons of the Prophet \u003c/em>\u003c/a>takes it as a given that we are all the children of chaos and despair. He fills his play with soothsayers, storms, unrequited love, threats of illness, economic uncertainty, a craven journalist, and game attempts to forgive the failures of good and bad alike.\u003c/p>\n\u003cfigure id=\"attachment_12471527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-800x450.jpg\" alt=\"Brothers Joseph (Eric Kerr) and Charles (Stephen Kanaski) sit between the fake deer that started their downfall in New Conservatory Theatre's production of 'Sons of the Prophet' by Stephen Karam.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SoP_Pub1_HiRes-e1481528531778.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Joseph (Eric Kerr) and Charles (Stephen Kanaski) sit between the fake deer that started their troubles in the New Conservatory Theatre’s production of ‘Sons of the Prophet’ by Stephen Karam. \u003ccite>(Photo: Lois Tema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But most importantly, there is the death of a beloved father and brother, and the fear that after that nothing will ever be right again. As we might expect and enjoy, his sons — Joseph and Charles — and their Uncle Bill struggle to both reconstitute and remain a family. The stable Joseph is uninsured and suffering from nerve damage, Bill is aging fast, and the delightful 18-year old Charles is still in need of care, both emotionally and economically.\u003c/p>\n\u003cp>Their problems are nagging and mundane. But the Pennsylvanian landscape of the play’s setting, littered with an Old Testament’s worth of cities — Bethlehem, Jordan, Egypt, and Lebanon — bristles with a somber magic. Karam suggests that all this has happened before, that we walk in our ancestors’ footsteps, and that our memories of them are both painful and soothing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can feel the symbolic force of the writing and you’re ready to be swept up by it. Unfortunately, everything is stunted by the playwright’s reliance on sitcom aesthetics. Veering between snappy jokes and sentimental lessons, the force of the drama never takes root. It drifts instead of builds. So despite the winning cast, we can’t quite feel the bite of despair or the warmth of simple kindness.\u003c/p>\n\u003ch3>‘Paradise Street’ energetic, yet untempered\u003c/h3>\n\u003cp>Horror master Clive Barker (\u003cem>Hellraiser\u003c/em>) might seem an unlikely Christmas playwright, and yet the creator of the murderous “Pinhead” certainly understands the mayhem lurking behind holiday cheer. His \u003ca href=\"http://www.theexit.org/paradise-street/\" target=\"_blank\" rel=\"noopener\">\u003cem>Paradise Street\u003c/em>\u003c/a>, receiving its Bay Area premiere under Stuart Bousel’s uneven direction at San Francisco’s Exit Theatre, is a modern take on Ben Jonson’s city comedies, and at its best has the energy and beat of the street.\u003c/p>\n\u003cfigure id=\"attachment_12471535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg\" alt=\"Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theater's production of 'Paradise Street' by Clive Barker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theatre’s production of ‘Paradise Street’ by Clive Barker. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a tale of two brothers who reunite on Christmas eve. The elder, Bonner, is a soldier and the unwise owner of a couple of grenades. The younger, Quinn, is sweet and a jazz musician of no talent, though it doesn’t seem to bother him much. As the boys bumble their way through the night, their adventures are offset by a host of characters with deeper concerns and fears.\u003c/p>\n\u003cp>A homeless Irishman, Mulrooney, has visions of his own death; a lonely, good-natured social worker, Jude, dreams of a better world, both for her clients, and, rather mystically, the universe; and Queen Elizabeth — in full virgin warrior splendor — pops up from the past with an an out of control ape and a regal sense of justice.\u003c/p>\n\u003cp>Barker gets the outlandish beauty of theater and the volatile mixture of hope and despair that Christmas brings. But like Bousel’s production, the play is untempered. Everything is pitched to maximum effect without a corresponding sense of quiet and warmth. And that’s when you know that horror can only take you so far.\u003c/p>\n\u003ch3>‘946: The Amazing Story of Adolphus Tips’ is curiously distancing\u003c/h3>\n\u003cp>British company Kneehigh’s production of \u003ca href=\"http://www.berkeleyrep.org/season/1617/10656.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>946: The Amazing Story of Adolphus Tips\u003c/em>\u003c/a> at Berkeley Repertory Theatre, directed by Emma Rice and co-adapted for the stage by Rice and author Michael Morpurgo from his children’s story, shares similar ambitions to \u003cem>Sons of the Prophet\u003c/em> and \u003cem>Paradise Street. \u003c/em>It is quite self-consciously aware of the strange mixture of warmth and brutality that audiences seem to seek out in the winter.\u003c/p>\n\u003cfigure id=\"attachment_12471729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12471729\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783.jpg\" alt=\"Lily (Katy Owen) reunites with her cat in Kneehigh's production of '946: The Amazing Story of Adophus Tips' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/ATpre4_lr-e1481532100783-520x293.jpg 520w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Lily (Katy Owen) reunites with her cat in Kneehigh’s production of ‘946: The Amazing Story of Adophus Tips’ at the Berkeley Rep. \u003ccite>(Photo: Steve Tanner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet, Rice’s take on Morpurgo ‘s tale of 11-year old Lily, her missing cat, and the second world war’s effect on the out-of-the-way English village of Slapton, is so frenzied and intent on making every moment memorable, that the production sacrifices reflection and storytelling for kitsch and pizazz. Rice gives us the requisite blues band, farm animal puppets, overly broad and cutesy acting, and a narrative strategy designed to shed tears every five minutes.\u003c/p>\n\u003cp>The effect of all of this is curiously distancing. We’re asked to react with great emotion over and over again, as the play rushes from one dramatic event to the next. When the husband of the adult Lily dies in the first few scenes, the outsized level of significance of his death is strange. As the cast mournfully sings to “let him go . . . he’s not gone, just gone away,” I felt as if I’d been dragged to a stranger’s funeral.\u003c/p>\n\u003cp>There’s nothing wrong in having characters grieve over a minor one. But Lily’s dead husband is so sketchily presented and irrelevant to the plot that you feel manipulated by the demand to care. And that’s the effect of the whole production — a headlong race to the big moments no matter what. So the many deaths in the play feel haphazard and meaningless. In \u003cem>946\u003c/em>, the loss of a father, husband, comrade, or battalion of innocent men is merely an opportunity to sing and dance in nifty ways.\u003c/p>\n\u003cp>When Rice evokes Bertolt Brecht as both an aesthetic forefather and a spiritual aide — “In the dark times/Will there also be singing?” — it’s hard to tell whether she’s cynical or stupid. And that goes for the call outs to Maya Angelou and Martin Luther King Jr., too. It’s just fluff where content should be.\u003c/p>\n\u003cp>There’s a massive amount of talent on stage, from the actors to the designers, but it’s all in the service of a distasteful infantilizing of the audience. The most telling moment of the evening happens in the middle of the “staged” curtain call, where the actors force the entire theater into a goofy dance-along. That’s what clowns do to children at birthday parties. It’s a disservice to the reality of the world we live in and all those who try to bring true light to the holidays.\u003c/p>\n\u003cp>And so as I was leaving the theater I thought of an elementary school Christmas pageant I’d just seen, and how the story of Christ’s birth catches the balance of what these three pieces are struggling to achieve. Mary and Joseph’s journey to the safety of the manger is sharpened and deepened by the weather. The unrelenting nature of the season is leavened by the birth of a child. The nativity harmonizes these extremes and presents them as one and the same experience, a narrative trick as magical as the story it tells.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sons of the Prophet’ runs through Sunday, Dec. 18 at the New Conservatory Theatre Center in San Francisco. For tickets and information \u003ca href=\"http://www.nctcsf.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘Paradise Street’ runs through Saturday, Dec. 17 at the Exit Theatre in San Francisco. For tickets and information \u003ca href=\"http://www.theexit.org/paradise-street/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘946: The Amazing Story of Adolphus Tips’ runs through Sunday, Jan. 15 at Berkeley Repertory Theatre in Berkeley. For tickets and information \u003ca href=\"http://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tickets for the San Francisco performances of the hit musical \u003ci>Hamilton\u003c/i> became available to the general public Monday, tethering tens of thousands of determined buyers to the their computers and sending hundreds more to stand in lines in an attempt to buy the coveted seats at the theater’s box office.\u003c/p>\n\u003cp>Local news station KGO sent its \u003ca href=\"http://abc7news.com/entertainment/hundreds-stand-in-long-line-ahead-of-hamilton-in-san-francisco/1652584/\" target=\"_blank\" rel=\"noopener\">Sky 7D helicopter\u003c/a> to shoot the blocks-long line that had formed that morning down Market street to the Orpheum Theatre, which is hosting the musical’s run from Mar. 10 – Aug. 5, 2017. A\u003ca href=\"http://www.sfgate.com/bayarea/article/Hamilton-tickets-San-Francisco-digital-line-SHNSF-10791060.php\" target=\"_blank\" rel=\"noopener\">lmost 100,000 people\u003c/a> were in the company’s digital queue when online sales opened at 10am.\u003c/p>\n\u003cp>Tickets for the Tony Award-winning show were being sold $100-$524 by the theater. But by Monday evening the only seats available were singles, and the majority of these \u003ca href=\"https://twitter.com/shnsf/status/808479954056814592\" target=\"_blank\" rel=\"noopener\">were in the orchestra\u003c/a>, the most expensive section of the auditorium.\u003c/p>\n\u003cp>A pre-sale opportunity the previous Monday saw a similar flurry of excitement, with the theater’s digital queue reaching \u003ca href=\"http://www.sfgate.com/news/article/More-than-79000-in-Hamilton-ticket-queue-10695262.php\" target=\"_blank\" rel=\"noopener\">80,000\u003c/a> by that afternoon. Hopeful buyers included Kristin Scheel, a writer in San Francisco, who waited for hours to buy tickets, only to find options limited.\u003c/p>\n\u003cp>“None of the days during the five months had really any tickets available,” Scheel says. “I was clicking ‘buy’ on random days.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scheel says she went to the website right at 10am, which gave her a number around 14,000. Apparently she made out better than her friend, who joined the line around 48,000, only to have to leave the site in order to find an American Express card. When she logged back on soon after, she was around 72,000th in line.\u003c/p>\n\u003cp>“I have no doubt we were competing with people all over,” Scheel says. “My friend was in Colorado trying to be tickets with her friends. And her friends got tickets before I did.”\u003c/p>\n\u003cp>While Scheel was waiting by her computer to purchase pre-sale tickets, a contractor working on her house went on his phone and looked on the secondary market. Scheel says he found some for the same night that she wanted, without the wait, but for $60 more a ticket.\u003c/p>\n\u003cp>“He was like, ‘what day do you want to go?,” she says. “The resale sites went up within a half-hour of the tickets going on sale.”\u003c/p>\n\u003cp>After this Monday’s general release, starting prices for tickets on the secondary market were $900, and reached as much as $3,000.\u003c/p>\n\u003cp>If you don’t have — or want to spend — that kind of cash, another option is signing up for the daily raffle during the musical’s run; winners receive tickets for that night’s show for just $10 apiece.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Scheel’s attempt to buy tickets was ultimately successful, though she says she didn’t even end up buying one for herself — only for her kids. Her daughter has been listening to the soundtrack constantly in the family car, and Scheel intends to give the tickets to her children as Christmas presents. “This was nuts though,” Scheel says. “It was like kicking a wasps’ nest.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tickets for the San Francisco performances of the hit musical \u003ci>Hamilton\u003c/i> became available to the general public Monday, tethering tens of thousands of determined buyers to the their computers and sending hundreds more to stand in lines in an attempt to buy the coveted seats at the theater’s box office.\u003c/p>\n\u003cp>Local news station KGO sent its \u003ca href=\"http://abc7news.com/entertainment/hundreds-stand-in-long-line-ahead-of-hamilton-in-san-francisco/1652584/\" target=\"_blank\" rel=\"noopener\">Sky 7D helicopter\u003c/a> to shoot the blocks-long line that had formed that morning down Market street to the Orpheum Theatre, which is hosting the musical’s run from Mar. 10 – Aug. 5, 2017. A\u003ca href=\"http://www.sfgate.com/bayarea/article/Hamilton-tickets-San-Francisco-digital-line-SHNSF-10791060.php\" target=\"_blank\" rel=\"noopener\">lmost 100,000 people\u003c/a> were in the company’s digital queue when online sales opened at 10am.\u003c/p>\n\u003cp>Tickets for the Tony Award-winning show were being sold $100-$524 by the theater. But by Monday evening the only seats available were singles, and the majority of these \u003ca href=\"https://twitter.com/shnsf/status/808479954056814592\" target=\"_blank\" rel=\"noopener\">were in the orchestra\u003c/a>, the most expensive section of the auditorium.\u003c/p>\n\u003cp>A pre-sale opportunity the previous Monday saw a similar flurry of excitement, with the theater’s digital queue reaching \u003ca href=\"http://www.sfgate.com/news/article/More-than-79000-in-Hamilton-ticket-queue-10695262.php\" target=\"_blank\" rel=\"noopener\">80,000\u003c/a> by that afternoon. Hopeful buyers included Kristin Scheel, a writer in San Francisco, who waited for hours to buy tickets, only to find options limited.\u003c/p>\n\u003cp>“None of the days during the five months had really any tickets available,” Scheel says. “I was clicking ‘buy’ on random days.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scheel says she went to the website right at 10am, which gave her a number around 14,000. Apparently she made out better than her friend, who joined the line around 48,000, only to have to leave the site in order to find an American Express card. When she logged back on soon after, she was around 72,000th in line.\u003c/p>\n\u003cp>“I have no doubt we were competing with people all over,” Scheel says. “My friend was in Colorado trying to be tickets with her friends. And her friends got tickets before I did.”\u003c/p>\n\u003cp>While Scheel was waiting by her computer to purchase pre-sale tickets, a contractor working on her house went on his phone and looked on the secondary market. Scheel says he found some for the same night that she wanted, without the wait, but for $60 more a ticket.\u003c/p>\n\u003cp>“He was like, ‘what day do you want to go?,” she says. “The resale sites went up within a half-hour of the tickets going on sale.”\u003c/p>\n\u003cp>After this Monday’s general release, starting prices for tickets on the secondary market were $900, and reached as much as $3,000.\u003c/p>\n\u003cp>If you don’t have — or want to spend — that kind of cash, another option is signing up for the daily raffle during the musical’s run; winners receive tickets for that night’s show for just $10 apiece.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Scheel’s attempt to buy tickets was ultimately successful, though she says she didn’t even end up buying one for herself — only for her kids. Her daughter has been listening to the soundtrack constantly in the family car, and Scheel intends to give the tickets to her children as Christmas presents. “This was nuts though,” Scheel says. “It was like kicking a wasps’ nest.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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/295780691″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The holiday season and circus are deeply connected for me, because this is the time of year when the late, great \u003ca href=\"http://www.foundsf.org/index.php?title=Pickle_Family_Circus:_Origins_and_Influence\" target=\"_blank\" rel=\"noopener\">Pickle Family Circus \u003c/a>always presented a show. But we have some terrific replacements this year, deeply influenced by the Pickles. My first choice is the scrappy and intimate \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">Kinetic Arts Center’s show \u003cem>Inversion\u003c/em>\u003c/a> in West Oakland, which we profiled a few weeks ago. But don’t overlook Cirque du Soleil’s gorgeous, extravagant and funny \u003cem>Luzia. \u003c/em>Just note that the death of stage technician Olivier Rochette on Tuesday night (Nov. 29) has forced the company to suspend performances for a few days. Now for this week’s show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pvtmGU1Co4E\u003c/p>\n\u003cp>\u003cstrong>Dec. 7: \u003c/strong>\u003ca href=\"http://www.handsomefamily.com/\" target=\"_blank\" rel=\"noopener\">The Handsome Family\u003c/a>’s Brett Sparks always sings a little off-key to my ear. But it’s in the same way folk-protest singer\u003ca href=\"https://en.wikipedia.org/wiki/Phil_Ochs\" target=\"_blank\" rel=\"noopener\"> Phil Ochs \u003c/a>was off; it doesn’t matter because the songs are so full of heart and humanity. He and his bandmate and wife Rennie (who writes the surreal, sometimes somber lyrics) got a huge boost when \u003ca href=\"http://www.hbo.com/true-detective\" target=\"_blank\" rel=\"noopener\">HBO’s \u003cem>True Detective\u003c/em>\u003c/a> made their single “Far From Any Road” the theme song for the show’s first season. They live in Albuquerque, and don’t like to tour much, but they’ve got a 10th album with songs, Rennie says, about “things we cannot see,” and it’s terrific. Details for their show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/the-handsome-family-gamh-w-drunken-prayer/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-SKjq1A-sVU\u003c/p>\n\u003cp>\u003cstrong>Dec. 5\u003c/strong>: Monday nights can be kind of depressing, with the work week stretching before us. But I have an antidote for this week: comedian Jackie Kashian. She’s a smart, funny woman who likes to gently poke white privilege and nerdiness. Her husband’s a game designer, and she hosts the podcast \u003cem>\u003ca href=\"http://tdf.libsyn.com/\" target=\"_blank\" rel=\"noopener\">The Dork Forest\u003c/a>, \u003c/em>a tribute to geeks and pop culture freaks. Details for her Monday night show at Doc’s Lab are \u003ca href=\"http://www.docslabsf.com/event/1320599-comedian-jackie-kashian-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>Cheap Thrill\u003c/strong>, with tickets just $12-$15.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HaU70Qeb0Cc\u003c/p>\n\u003cp>\u003cstrong>Dec. 2, 8 and 9: \u003c/strong>Comedian \u003ca href=\"https://www.lewisblack.com/\" target=\"_blank\" rel=\"noopener\">Lewis Black\u003c/a> nailed the dynamics of this past campaign season as well or better than any other commentator. And he’s a great relief valve for our own frustrations and anxieties, because he’s so righteously \u003cstrong>angry\u003c/strong> about it. As our producer Suzie Racho says, he looks a walking heart attack, so catch him before he self-destructs. Details here for his three Bay Area shows: Dec. 2 at the\u003ca href=\"http://concerts.livenation.com/event/1C005093CAE56029\" target=\"_blank\" rel=\"noopener\"> Masonic Auditorium in San Francisco\u003c/a>, Dec. 8 at the \u003ca href=\"http://www.uptowntheatrenapa.com/event/lewis-black-2/\" target=\"_blank\" rel=\"noopener\">Uptown Theater in Napa\u003c/a>, and Dec. 9 at the \u003ca href=\"https://goldenstatetheatre.showare.com/eventperformances.asp?evt=95\" target=\"_blank\" rel=\"noopener\">Golden State Theatre in Monterey\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PrJTmpt43hg\u003c/p>\n\u003cp>\u003cstrong>Dec. 2 and 4\u003c/strong>: Baroque composers wrestled with the same moral dilemmas as we do now. In \u003ca href=\"https://en.wikipedia.org/wiki/The_Indian_Queen_(opera)\" target=\"_blank\" rel=\"noopener\">\u003cem>The Indian Queen\u003c/em>\u003c/a>, Henry Purcell (1659-1695) asked “Why should men quarrel here where all possess as much as they can hope for by success?” Mezzo-soprano \u003ca href=\"http://joycedidonato.com/in-war-peace/\" target=\"_blank\" rel=\"noopener\">Joyce DiDonato\u003c/a> performs an excerpt from \u003cem>The Indian Queen\u003c/em> as part of a suite of songs on war and peace on her new CD and tour, inspired by the attacks on Paris a year ago. (Check out Steven Winn’s\u003ca href=\"http://www.sfchronicle.com/performance/article/Joyce-DiDonato-to-perform-In-War-and-Peace-10634769.php\" target=\"_blank\" rel=\"noopener\"> preview \u003c/a>for the show in the \u003cem>San Francisco Chronicle\u003c/em>.) She’s joined forces with the period-instrument ensemble Il Pomo d’Oro, stage director Ralf Pleger, choreographer-dancer Manuel Palazzo and costume designer Vivienne Westwood to create a thoroughly theatrical recital. Details for her show tonight at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/december-2016/joyce-didonato-and-il-pomo-doro\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for her Sunday afternoon concert at Zellerbach Hall in Berkeley \u003ca href=\"https://calperformances.org/performances/2016-17/early-music/joyce-didonato-il-pomo-doro-war-and-peace-harmony-through-music.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12424060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12424060\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-800x450.jpg\" alt=\"'Miss Bennet: Christmas at Pemberley' features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Miss Bennet: Christmas at Pemberley’ features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer) \u003ccite>(Photo: Kevin Berne/Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Dec. 23\u003c/strong>: Last year, the Bay Area’s \u003ca href=\"http://laurengunderson.com/\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> was the second most-produced living playwright in the country. She’s prolific, profound, and often funny. She’s got a new show, co-written with \u003ca href=\"http://zff.org/announcements/margot-melcon-joins-zff/\" target=\"_blank\" rel=\"noopener\">Margot Melcon\u003c/a>, called \u003cem>Miss Bennet: Christmas at Pemberley\u003c/em>. It’s an update on Jane Austen’s \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice\" target=\"_blank\" rel=\"noopener\">\u003cem>Pride and Prejudice\u003c/em>\u003c/a>, and Gunderson says it’s her and Melcon’s stab at the perfect Christmas play — a witty love story, set during the Christmas season, blending sentiment and smarts. And yes, it’s a bit of an escape from the anxieties of this past election season. “But the day after the election, going into rehearsal,” Gunderson tells me by phone, “we realized this play is more appropriate in part because it is still rare to have a lot of women on stage not talking about men, but talking about their own futures, their own agency, their own ambitions, and their own hearts.” Details for \u003cem>Miss Bennet\u003c/em> at Marin Theatre Co. are \u003ca href=\"http://www.marintheatre.org/productions/miss-bennet-christmas-at-pemberly\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w1G_5cDlWeM\u003c/p>\n\u003cp>\u003cstrong>Dec. 8\u003c/strong>: \u003ca href=\"http://www.thesheltersmusic.com/\" target=\"_blank\" rel=\"noopener\">The Shelters\u003c/a> sound a little like the Byrds, the Beatles and a bit of the Allman Brothers all mixed together. Sebastian Harris, Josh Jove, Jacob Pillot, and Chase Simpson make classic rock ‘n’ roll, something we don’t really hear all that often these days. They also have an ace in the hole; their new album was produced by \u003ca href=\"http://www.tompetty.com/?frontpage=true\" target=\"_blank\" rel=\"noopener\">Tom Petty\u003c/a>, who was so impressed with the band that he produced their new album in his home studio. It’s very catchy stuff. Details for their Starline Social Club show are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2016/12/8/folk-yeah-presents-the-shelters\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. It’s another \u003cstrong>Cheap Thrill\u003c/strong>!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0SsrpAtpllk\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 2\u003c/strong>: We had to squeeze this in — Minna Choi and her \u003ca href=\"http://www.magikmagik.com/\" target=\"_blank\" rel=\"noopener\">Magik Magik Orchestra\u003c/a>, a team that has backed so many great pop recordings, are the stars for once. The show celebrates Choi’s new album, called \u003cem>Magik Magik. \u003c/em>Details for her show at the Swedish American Hall are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/magikmagik/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/295780691″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/295780691″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The holiday season and circus are deeply connected for me, because this is the time of year when the late, great \u003ca href=\"http://www.foundsf.org/index.php?title=Pickle_Family_Circus:_Origins_and_Influence\" target=\"_blank\" rel=\"noopener\">Pickle Family Circus \u003c/a>always presented a show. But we have some terrific replacements this year, deeply influenced by the Pickles. My first choice is the scrappy and intimate \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">Kinetic Arts Center’s show \u003cem>Inversion\u003c/em>\u003c/a> in West Oakland, which we profiled a few weeks ago. But don’t overlook Cirque du Soleil’s gorgeous, extravagant and funny \u003cem>Luzia. \u003c/em>Just note that the death of stage technician Olivier Rochette on Tuesday night (Nov. 29) has forced the company to suspend performances for a few days. Now for this week’s 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/pvtmGU1Co4E'\n title='//www.youtube.com/embed/pvtmGU1Co4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 7: \u003c/strong>\u003ca href=\"http://www.handsomefamily.com/\" target=\"_blank\" rel=\"noopener\">The Handsome Family\u003c/a>’s Brett Sparks always sings a little off-key to my ear. But it’s in the same way folk-protest singer\u003ca href=\"https://en.wikipedia.org/wiki/Phil_Ochs\" target=\"_blank\" rel=\"noopener\"> Phil Ochs \u003c/a>was off; it doesn’t matter because the songs are so full of heart and humanity. He and his bandmate and wife Rennie (who writes the surreal, sometimes somber lyrics) got a huge boost when \u003ca href=\"http://www.hbo.com/true-detective\" target=\"_blank\" rel=\"noopener\">HBO’s \u003cem>True Detective\u003c/em>\u003c/a> made their single “Far From Any Road” the theme song for the show’s first season. They live in Albuquerque, and don’t like to tour much, but they’ve got a 10th album with songs, Rennie says, about “things we cannot see,” and it’s terrific. Details for their show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/the-handsome-family-gamh-w-drunken-prayer/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-SKjq1A-sVU'\n title='//www.youtube.com/embed/-SKjq1A-sVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 5\u003c/strong>: Monday nights can be kind of depressing, with the work week stretching before us. But I have an antidote for this week: comedian Jackie Kashian. She’s a smart, funny woman who likes to gently poke white privilege and nerdiness. Her husband’s a game designer, and she hosts the podcast \u003cem>\u003ca href=\"http://tdf.libsyn.com/\" target=\"_blank\" rel=\"noopener\">The Dork Forest\u003c/a>, \u003c/em>a tribute to geeks and pop culture freaks. Details for her Monday night show at Doc’s Lab are \u003ca href=\"http://www.docslabsf.com/event/1320599-comedian-jackie-kashian-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>Cheap Thrill\u003c/strong>, with tickets just $12-$15.\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/HaU70Qeb0Cc'\n title='//www.youtube.com/embed/HaU70Qeb0Cc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 2, 8 and 9: \u003c/strong>Comedian \u003ca href=\"https://www.lewisblack.com/\" target=\"_blank\" rel=\"noopener\">Lewis Black\u003c/a> nailed the dynamics of this past campaign season as well or better than any other commentator. And he’s a great relief valve for our own frustrations and anxieties, because he’s so righteously \u003cstrong>angry\u003c/strong> about it. As our producer Suzie Racho says, he looks a walking heart attack, so catch him before he self-destructs. Details here for his three Bay Area shows: Dec. 2 at the\u003ca href=\"http://concerts.livenation.com/event/1C005093CAE56029\" target=\"_blank\" rel=\"noopener\"> Masonic Auditorium in San Francisco\u003c/a>, Dec. 8 at the \u003ca href=\"http://www.uptowntheatrenapa.com/event/lewis-black-2/\" target=\"_blank\" rel=\"noopener\">Uptown Theater in Napa\u003c/a>, and Dec. 9 at the \u003ca href=\"https://goldenstatetheatre.showare.com/eventperformances.asp?evt=95\" target=\"_blank\" rel=\"noopener\">Golden State Theatre in Monterey\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/PrJTmpt43hg'\n title='//www.youtube.com/embed/PrJTmpt43hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 2 and 4\u003c/strong>: Baroque composers wrestled with the same moral dilemmas as we do now. In \u003ca href=\"https://en.wikipedia.org/wiki/The_Indian_Queen_(opera)\" target=\"_blank\" rel=\"noopener\">\u003cem>The Indian Queen\u003c/em>\u003c/a>, Henry Purcell (1659-1695) asked “Why should men quarrel here where all possess as much as they can hope for by success?” Mezzo-soprano \u003ca href=\"http://joycedidonato.com/in-war-peace/\" target=\"_blank\" rel=\"noopener\">Joyce DiDonato\u003c/a> performs an excerpt from \u003cem>The Indian Queen\u003c/em> as part of a suite of songs on war and peace on her new CD and tour, inspired by the attacks on Paris a year ago. (Check out Steven Winn’s\u003ca href=\"http://www.sfchronicle.com/performance/article/Joyce-DiDonato-to-perform-In-War-and-Peace-10634769.php\" target=\"_blank\" rel=\"noopener\"> preview \u003c/a>for the show in the \u003cem>San Francisco Chronicle\u003c/em>.) She’s joined forces with the period-instrument ensemble Il Pomo d’Oro, stage director Ralf Pleger, choreographer-dancer Manuel Palazzo and costume designer Vivienne Westwood to create a thoroughly theatrical recital. Details for her show tonight at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/december-2016/joyce-didonato-and-il-pomo-doro\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for her Sunday afternoon concert at Zellerbach Hall in Berkeley \u003ca href=\"https://calperformances.org/performances/2016-17/early-music/joyce-didonato-il-pomo-doro-war-and-peace-harmony-through-music.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12424060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12424060\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-800x450.jpg\" alt=\"'Miss Bennet: Christmas at Pemberley' features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Miss-Bennet-Christmas-at-Pemberley-e1480628928663-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Miss Bennet: Christmas at Pemberley’ features Elizabeth Darcy (Cindy Im), Arthur de Bourgh (Adam Magill), and Jane Bingley (Lauren Spencer) \u003ccite>(Photo: Kevin Berne/Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Dec. 23\u003c/strong>: Last year, the Bay Area’s \u003ca href=\"http://laurengunderson.com/\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> was the second most-produced living playwright in the country. She’s prolific, profound, and often funny. She’s got a new show, co-written with \u003ca href=\"http://zff.org/announcements/margot-melcon-joins-zff/\" target=\"_blank\" rel=\"noopener\">Margot Melcon\u003c/a>, called \u003cem>Miss Bennet: Christmas at Pemberley\u003c/em>. It’s an update on Jane Austen’s \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice\" target=\"_blank\" rel=\"noopener\">\u003cem>Pride and Prejudice\u003c/em>\u003c/a>, and Gunderson says it’s her and Melcon’s stab at the perfect Christmas play — a witty love story, set during the Christmas season, blending sentiment and smarts. And yes, it’s a bit of an escape from the anxieties of this past election season. “But the day after the election, going into rehearsal,” Gunderson tells me by phone, “we realized this play is more appropriate in part because it is still rare to have a lot of women on stage not talking about men, but talking about their own futures, their own agency, their own ambitions, and their own hearts.” Details for \u003cem>Miss Bennet\u003c/em> at Marin Theatre Co. are \u003ca href=\"http://www.marintheatre.org/productions/miss-bennet-christmas-at-pemberly\" 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/w1G_5cDlWeM'\n title='//www.youtube.com/embed/w1G_5cDlWeM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 8\u003c/strong>: \u003ca href=\"http://www.thesheltersmusic.com/\" target=\"_blank\" rel=\"noopener\">The Shelters\u003c/a> sound a little like the Byrds, the Beatles and a bit of the Allman Brothers all mixed together. Sebastian Harris, Josh Jove, Jacob Pillot, and Chase Simpson make classic rock ‘n’ roll, something we don’t really hear all that often these days. They also have an ace in the hole; their new album was produced by \u003ca href=\"http://www.tompetty.com/?frontpage=true\" target=\"_blank\" rel=\"noopener\">Tom Petty\u003c/a>, who was so impressed with the band that he produced their new album in his home studio. It’s very catchy stuff. Details for their Starline Social Club show are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2016/12/8/folk-yeah-presents-the-shelters\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. It’s another \u003cstrong>Cheap Thrill\u003c/strong>!\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/0SsrpAtpllk'\n title='//www.youtube.com/embed/0SsrpAtpllk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 2\u003c/strong>: We had to squeeze this in — Minna Choi and her \u003ca href=\"http://www.magikmagik.com/\" target=\"_blank\" rel=\"noopener\">Magik Magik Orchestra\u003c/a>, a team that has backed so many great pop recordings, are the stars for once. The show celebrates Choi’s new album, called \u003cem>Magik Magik. \u003c/em>Details for her show at the Swedish American Hall are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/magikmagik/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cirque-du-soleil-and-kinetic-arts-fall-deep-into-the-dark-pleasures-of-circus",
"title": "Cirque Du Soleil and Kinetic Arts Fall Deep Into the Dark Pleasures Of Circus",
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"headTitle": "Cirque Du Soleil and Kinetic Arts Fall Deep Into the Dark Pleasures Of Circus | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This review was written before a \u003ca href=\"https://ww2.kqed.org/arts/2016/11/30/cirque-du-soleil-suspends-performances-following-worker-death/\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil technician was killed\u003c/a> during a show Tuesday night (Nov. 29). The show is on hiatus until further notice.\u003c/em>\u003c/p>\n\u003cp>Why the circus is fascinating remains a grand riddle. The emotions elicited by the art form are often so wild and contradictory that all you want is to harmonize them and find your way back to the normal, everyday world. Both Cirque du Soleil’s \u003cem>Luzia — A Waking Dream Of Mexico\u003c/em> and the Kinetic Arts Center’s \u003cem>Circus Disobedience: Inversion\u003c/em> hint at the answer to that riddle, while still keeping it a secret. Like the mystery of the Sphinx and our dreams, everything we need to know is right in front of us.\u003c/p>\n\u003cp>Cirque du Soleil’s \u003cem>Luzia\u003c/em> begins in terror. An airplane explodes, and a clown, the incredible, dough-faced Eric Koller, falls through the sky. Perhaps only a clown would find such a situation delightful, as the smiling Koller does here. He has a parachute, but soon loses it to a seagull. So things get worse fast, as well as more interesting.\u003c/p>\n\u003cp>The clown pulls out a paper umbrella, which is the type of last-minute reprieve often imagined in a dream. Will it save him, or slow him down just enough to make his last moments of life more terrifying? The collective groan of the audience suggests the latter. And you think, well, at least he’s going to Mexico, which is where he was heading, though not quite in the way that he planned.\u003c/p>\n\u003cp>It’s a beautiful start, and catches why this so-called family-friendly art form can often reach frightening levels of disturbance. Its fantasies are all encompassing — I can fall from a plane and live! — but death is always lurking, and not the kind where one goes to sleep and gently drifts away. So when our clown lands in a field of flowers, it’s both a brief respite from terror, and miraculous. And no circus worth its price of admission should ever leave either of those two states for long.\u003c/p>\n\u003cfigure id=\"attachment_12421448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421448\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-800x450.jpg\" alt=\"The running butterfly woman (Shelli Epstein) touches down in Cirque du Soleil's 'Luzia.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The running butterfly woman (Shelli Epstein) touches down in Cirque du Soleil’s ‘Luzia.’ \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So almost immediately, a butterfly woman appears running through the air, her wings gigantic and fragile. She touches down on, of all things, an airport moving walkway — the kind that you glide on when you have too much luggage or just want to get a kick out of walking fast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The walkway, all straight lines, rotates in perfect circles on the mechanical stage. As right angles suddenly become circles and back again, the cast performs one of the most ornate series of hoop dives I’ve ever seen. You can almost feel the rules of geometry bend in front of you, as the perpendicular lines of the acrobats on the walkway defy and meld with the circular, rotating stage.\u003c/p>\n\u003cp>At the finish of this improbability, Eric the clown is off again, leading us through a Mexico that only a tourist would dream of. In the woods where three women fly above the trees; on a movie set where the star balances on building blocks that take him higher and higher and higher; and finally to the “Swing to Swing,” a rather brutal contraption that hurls the performers wildly into the air.\u003c/p>\n\u003cfigure id=\"attachment_12421450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-800x450.jpg\" alt=\"Some terrifying acrobatics in Cirque du Soleil's 'Luzia.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some terrifying acrobatics in Cirque du Soleil’s ‘Luzia.’ \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a full-blown fantasy of transcendence flecked with shards of reality as cutting as glass. Unbelievable, thrilling, and awful, I was relieved when this “waking dream” of Mexico was over and that it never became the nightmare that it so often threatens to become.\u003c/p>\n\u003cp>The performers in \u003cem>Inversion\u003c/em> aren’t on the level of the ones in Cirque du Soleil. But they’re quite good, and it’s a thrill to see them in the Kinetic Arts Center’s 150-seat warehouse space.\u003c/p>\n\u003cfigure id=\"attachment_12421453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421453\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-800x448.jpg\" alt=\"(L to R) TT Robson, Julie Rogers, and Lillian Ferreira hang in unison in Kinetic Art's 'Inversion' directed and conceived by Jaron Hollander.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654.jpg 1909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) TT Robson, Julie Rogers, and Lillian Ferreira hang in unison in Kinetic Arts’ ‘Inversion,’ directed and conceived by Jaron Hollander. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the show properly begins, two clowns — brilliantly played throughout by Slater Penny and Julie Rogers — kind of mess around with the audience. It all seems a goof, and hardly worthy of grand ideas such as “disobedience” and “inversion.” But a good circus is always one step ahead of us.\u003c/p>\n\u003cp>The show starts with a full cast dance number and when the performers stand before us, you realize that artistic director Jaron Hollander’s notion of the circus is much closer to theater than is Cirque du Soleil’s. Here, we’re confronted with character types, not categories of performers. There’s an angry teen, an anarchist punk, a conservative Republican family, a Ring Mistress with a whip, a little girl, and two fairies — one kind of devilish and the other a bit of an angel.\u003c/p>\n\u003cp>As these types perform for us, they’re transformed by what they do. One of the most startling moments of \u003cem>Inversion\u003c/em> is Elliott Gittelsohn and Dwoira Galilea’s contortion act. It’s not just that they’re twisting their bodies in ways that defy basic biology; it’s that by doing so, their Republican identities implode while they contort. You feel how liberating talent, skill, and dedication are, and how their mere expression takes on an anarchic, uncontrollable force.\u003c/p>\n\u003cp>Unlike most circuses, there are no obvious signals about what’s going to happen next and who is going to do what. Ross Travis’ anarchist punk flies up and down a metal pole the way most of us lean against a wall. Even after you begin to expect his oddball attacks on gravity, it’s still hard to anticipate.\u003c/p>\n\u003cp>You would never guess that Erin $hredder’s Ring Mistress would rise in the air while twirling a dazzling array of luminescent hula-hoops, nor think that the angelic TT Robson could catch people in free fall with her feet, or believe that our casual clowns, so loose and natural, can scurry up dangling ropes and twirl in the air like mechanical whirligigs.\u003c/p>\n\u003cfigure id=\"attachment_12421454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421454\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-800x447.jpeg\" alt=\"Julie Rogers takes a twirl in Kinetic Art's 'Inversion' directed and conceived by Jaron Hollander.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-800x447.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-768x429.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-1020x570.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-1180x659.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-960x536.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-240x134.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-375x210.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-520x291.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266.jpeg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Rogers takes a twirl in Kinetic Art’s ‘Inversion’ directed and conceived by Jaron Hollander. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing is as it seems. So even though the revolutionary ideals of \u003cem>Inversion\u003c/em> are quite tame, the show is nonetheless wildly explosive. Hollander has invested the whole piece with a verve and surprise that is beautiful and human. When the ending comes, it is both obvious and unbelievable. It’s both what we would expect and yet never imagine.\u003c/p>\n\u003cp>The whole cast gets in the act as if they were all taking turns playing lead guitar in the happiest garage band in the world. And for one glorious moment — a slow motion fight set to William Tell’s \u003cem>Overture of 1812 — \u003c/em>everything feels as if it’s upside down.\u003c/p>\n\u003cp>So the riddle of the circus is always partial and right before us: people are miraculous and fragile; they dream of the impossible and make it come true. It’s just that no matter how wonderful the outcome, everyone finally falls to the ground. And then the lights go out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cem>‘Inversion’ runs through Sunday, Dec. 18 at the Kinetic Arts Center in Oakland. For tickets and information, \u003ca href=\"http://www.kineticartsproductions.com/tickets-1\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Luiza’ runs through Sunday, Jan. 29 at the ATT parking lot in San Francisco. For tickets and information, \u003ca href=\"https://www.cirquedusoleil.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The internationally-renowned company and the scrappy local troupe have much in common when it comes to playing with our expectations.",
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"title": "Cirque Du Soleil and Kinetic Arts Fall Deep Into the Dark Pleasures Of Circus | KQED",
"description": "The internationally-renowned company and the scrappy local troupe have much in common when it comes to playing with our expectations.",
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"headline": "Cirque Du Soleil and Kinetic Arts Fall Deep Into the Dark Pleasures Of Circus",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This review was written before a \u003ca href=\"https://ww2.kqed.org/arts/2016/11/30/cirque-du-soleil-suspends-performances-following-worker-death/\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil technician was killed\u003c/a> during a show Tuesday night (Nov. 29). The show is on hiatus until further notice.\u003c/em>\u003c/p>\n\u003cp>Why the circus is fascinating remains a grand riddle. The emotions elicited by the art form are often so wild and contradictory that all you want is to harmonize them and find your way back to the normal, everyday world. Both Cirque du Soleil’s \u003cem>Luzia — A Waking Dream Of Mexico\u003c/em> and the Kinetic Arts Center’s \u003cem>Circus Disobedience: Inversion\u003c/em> hint at the answer to that riddle, while still keeping it a secret. Like the mystery of the Sphinx and our dreams, everything we need to know is right in front of us.\u003c/p>\n\u003cp>Cirque du Soleil’s \u003cem>Luzia\u003c/em> begins in terror. An airplane explodes, and a clown, the incredible, dough-faced Eric Koller, falls through the sky. Perhaps only a clown would find such a situation delightful, as the smiling Koller does here. He has a parachute, but soon loses it to a seagull. So things get worse fast, as well as more interesting.\u003c/p>\n\u003cp>The clown pulls out a paper umbrella, which is the type of last-minute reprieve often imagined in a dream. Will it save him, or slow him down just enough to make his last moments of life more terrifying? The collective groan of the audience suggests the latter. And you think, well, at least he’s going to Mexico, which is where he was heading, though not quite in the way that he planned.\u003c/p>\n\u003cp>It’s a beautiful start, and catches why this so-called family-friendly art form can often reach frightening levels of disturbance. Its fantasies are all encompassing — I can fall from a plane and live! — but death is always lurking, and not the kind where one goes to sleep and gently drifts away. So when our clown lands in a field of flowers, it’s both a brief respite from terror, and miraculous. And no circus worth its price of admission should ever leave either of those two states for long.\u003c/p>\n\u003cfigure id=\"attachment_12421448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421448\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-800x450.jpg\" alt=\"The running butterfly woman (Shelli Epstein) touches down in Cirque du Soleil's 'Luzia.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusbutterflywoman-e1480581327463.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The running butterfly woman (Shelli Epstein) touches down in Cirque du Soleil’s ‘Luzia.’ \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So almost immediately, a butterfly woman appears running through the air, her wings gigantic and fragile. She touches down on, of all things, an airport moving walkway — the kind that you glide on when you have too much luggage or just want to get a kick out of walking fast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The walkway, all straight lines, rotates in perfect circles on the mechanical stage. As right angles suddenly become circles and back again, the cast performs one of the most ornate series of hoop dives I’ve ever seen. You can almost feel the rules of geometry bend in front of you, as the perpendicular lines of the acrobats on the walkway defy and meld with the circular, rotating stage.\u003c/p>\n\u003cp>At the finish of this improbability, Eric the clown is off again, leading us through a Mexico that only a tourist would dream of. In the woods where three women fly above the trees; on a movie set where the star balances on building blocks that take him higher and higher and higher; and finally to the “Swing to Swing,” a rather brutal contraption that hurls the performers wildly into the air.\u003c/p>\n\u003cfigure id=\"attachment_12421450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-800x450.jpg\" alt=\"Some terrifying acrobatics in Cirque du Soleil's 'Luzia.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusdeath3-e1480581564826.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some terrifying acrobatics in Cirque du Soleil’s ‘Luzia.’ \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a full-blown fantasy of transcendence flecked with shards of reality as cutting as glass. Unbelievable, thrilling, and awful, I was relieved when this “waking dream” of Mexico was over and that it never became the nightmare that it so often threatens to become.\u003c/p>\n\u003cp>The performers in \u003cem>Inversion\u003c/em> aren’t on the level of the ones in Cirque du Soleil. But they’re quite good, and it’s a thrill to see them in the Kinetic Arts Center’s 150-seat warehouse space.\u003c/p>\n\u003cfigure id=\"attachment_12421453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421453\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-800x448.jpg\" alt=\"(L to R) TT Robson, Julie Rogers, and Lillian Ferreira hang in unison in Kinetic Art's 'Inversion' directed and conceived by Jaron Hollander.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CircusInversion1-e1480582298654.jpg 1909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) TT Robson, Julie Rogers, and Lillian Ferreira hang in unison in Kinetic Arts’ ‘Inversion,’ directed and conceived by Jaron Hollander. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the show properly begins, two clowns — brilliantly played throughout by Slater Penny and Julie Rogers — kind of mess around with the audience. It all seems a goof, and hardly worthy of grand ideas such as “disobedience” and “inversion.” But a good circus is always one step ahead of us.\u003c/p>\n\u003cp>The show starts with a full cast dance number and when the performers stand before us, you realize that artistic director Jaron Hollander’s notion of the circus is much closer to theater than is Cirque du Soleil’s. Here, we’re confronted with character types, not categories of performers. There’s an angry teen, an anarchist punk, a conservative Republican family, a Ring Mistress with a whip, a little girl, and two fairies — one kind of devilish and the other a bit of an angel.\u003c/p>\n\u003cp>As these types perform for us, they’re transformed by what they do. One of the most startling moments of \u003cem>Inversion\u003c/em> is Elliott Gittelsohn and Dwoira Galilea’s contortion act. It’s not just that they’re twisting their bodies in ways that defy basic biology; it’s that by doing so, their Republican identities implode while they contort. You feel how liberating talent, skill, and dedication are, and how their mere expression takes on an anarchic, uncontrollable force.\u003c/p>\n\u003cp>Unlike most circuses, there are no obvious signals about what’s going to happen next and who is going to do what. Ross Travis’ anarchist punk flies up and down a metal pole the way most of us lean against a wall. Even after you begin to expect his oddball attacks on gravity, it’s still hard to anticipate.\u003c/p>\n\u003cp>You would never guess that Erin $hredder’s Ring Mistress would rise in the air while twirling a dazzling array of luminescent hula-hoops, nor think that the angelic TT Robson could catch people in free fall with her feet, or believe that our casual clowns, so loose and natural, can scurry up dangling ropes and twirl in the air like mechanical whirligigs.\u003c/p>\n\u003cfigure id=\"attachment_12421454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12421454\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-800x447.jpeg\" alt=\"Julie Rogers takes a twirl in Kinetic Art's 'Inversion' directed and conceived by Jaron Hollander.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-800x447.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-768x429.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-1020x570.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-1180x659.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-960x536.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-240x134.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-375x210.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266-520x291.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/circusinversion2-e1480582604266.jpeg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Rogers takes a twirl in Kinetic Art’s ‘Inversion’ directed and conceived by Jaron Hollander. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing is as it seems. So even though the revolutionary ideals of \u003cem>Inversion\u003c/em> are quite tame, the show is nonetheless wildly explosive. Hollander has invested the whole piece with a verve and surprise that is beautiful and human. When the ending comes, it is both obvious and unbelievable. It’s both what we would expect and yet never imagine.\u003c/p>\n\u003cp>The whole cast gets in the act as if they were all taking turns playing lead guitar in the happiest garage band in the world. And for one glorious moment — a slow motion fight set to William Tell’s \u003cem>Overture of 1812 — \u003c/em>everything feels as if it’s upside down.\u003c/p>\n\u003cp>So the riddle of the circus is always partial and right before us: people are miraculous and fragile; they dream of the impossible and make it come true. It’s just that no matter how wonderful the outcome, everyone finally falls to the ground. And then the lights go out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cem>‘Inversion’ runs through Sunday, Dec. 18 at the Kinetic Arts Center in Oakland. For tickets and information, \u003ca href=\"http://www.kineticartsproductions.com/tickets-1\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Luiza’ runs through Sunday, Jan. 29 at the ATT parking lot in San Francisco. For tickets and information, \u003ca href=\"https://www.cirquedusoleil.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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