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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttps://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170120.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Whether the presidential inauguration is making you queasy or giving you a thrill, it’s always a good idea to turn off the TV and take in some shows. As extras this week, we’re suggesting the pianist \u003ca href=\"http://www.hollybowling.com/\" target=\"_blank\" rel=\"noopener\">Holly Bowling’s\u003c/a> reimagining of the Grateful Dead’s songs at the \u003ca href=\"http://centerfornewmusic.com/calendar/\" target=\"_blank\" rel=\"noopener\">Center for New Music on Jan. 25\u003c/a>. Or for pure musical pleasure but with a political payoff, try an inauguration night (Jan. 20) benefit concert by \u003ca href=\"http://www.f49music.com/\" target=\"_blank\" rel=\"noopener\">Frequency 49\u003c/a>, a San Francisco-based woodwind sextet, with all proceeds going to the American Civil Liberties Union, at the \u003ca href=\"http://www.uusf.org/\" target=\"_blank\" rel=\"noopener\">First Unitarian Universalist Church of San Francisco\u003c/a>. \u003c/p>\n\u003cp>Now on to the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p3gcYSndLfc\u003c/p>\n\u003cp>\u003cstrong>Jan 21 and 22\u003c/strong>: \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> isn’t like most orchestras. For one, there are no charismatic conductors; instead General Director Andrew Bales picks the repertory, finds a good conductor, and then counts on his devoted musicians to make it all sound great. That formula is working well, and this weekend Bales got \u003ca href=\"http://paulpolivnick.com/\" target=\"_blank\" rel=\"noopener\">Paul Polivnick\u003c/a> (a regular) conducting two pieces by American composer Kevin Puts (once a composer in residence at the California Symphony), Leonard Bernstein’s \u003cem>Fancy Free \u003c/em>(gorgeous), and a violin concerto by \u003ca href=\"http://www.boosey.com/composer/Dmitry+Kabalevsky\" target=\"_blank\" rel=\"noopener\">Dmitri Kabalavsky\u003c/a> that features virtuoso \u003ca href=\"http://www.dispeker.com/artist.php?id=mkamio\" target=\"_blank\" rel=\"noopener\">Mayuko Kamio\u003c/a>. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12645341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12645341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-800x556.jpg\" alt=\"Taxicab driver at the wheel with two passengers, N.Y.C. 1956\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1920x1335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-960x667.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taxicab driver at the wheel with two passengers, N.Y.C. 1956 \u003ccite>(Photo: Diane Arbus/Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 25–April 30\u003c/strong>: \u003ca href=\"http://nymag.com/thecut/2016/07/diane-arbus-c-v-r.html\" target=\"_blank\" rel=\"noopener\">Diane Arbus\u003c/a> was such a brave photographer, daring to shoot pictures of people on the street who many of us might have been too shy to approach, and outsiders like a fire eater on Coney Island, or a stripper backstage in Atlantic City. And her subjects stare right back at you. The San Francisco Museum of Modern Art is presenting a show of Arbus’s early work (curated by the Metropolitan Museum of Art) called \u003cem>Diane Arbus: In the Beginning,\u003c/em> and these 100 pictures show her already mastering that penetratingly direct gaze. \u003ca href=\"https://www.sfmoma.org/exhibition/diane-arbus-beginning/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gEAVSLzhxN0\u003c/p>\n\u003cp>\u003cstrong>Jan 21\u003c/strong>: The Bay Area’s \u003ca href=\"https://www.andreaclaburn.com/\" target=\"_blank\" rel=\"noopener\">Andrea Claburn\u003c/a> is a young, underappreciated veteran of the West Coast jazz scene. David notes that she’s a true jazz singer, getting the most out of her chosen instrument. She also does her own arrangements, and wrote five of the songs on her new album, \u003cem>Nightshade. \u003c/em>She’s a graduate of Berkeley’s \u003ca href=\"https://cjc.edu/concerts/\" target=\"_blank\" rel=\"noopener\">California Jazz Conservatory\u003c/a>, where she now teaches. For the album, and her gig Jan. 21 at the Jazz Conservatory, she’s working with an all star band: Matt Clark on piano (her regular accompaniist), Erik Jekabson on trumpet, Terence Brewer on guitar, and Jon Santos on percussion. It’s a \u003cstrong>CHEAP THRILL!\u003c/strong>, just $15, and it should be very good. Details \u003ca href=\"https://www.andreaclaburn.com/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> or \u003ca href=\"https://cjc.edu/concerts/?eid=17219\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wMJvLTZOhpE\u003c/p>\n\u003cp>\u003cstrong>Jan 25–Feb. 19\u003c/strong>: I know everyone is gung ho about \u003ca href=\"http://www.hamiltonbroadway.com/tour.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> finally coming to San Francisco, but my feeling is that the \u003ca href=\"http://funhomebroadway.com/tour.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a> tour is just as big a deal. This is \u003ca href=\"http://www.lisakron.org/\" target=\"_blank\" rel=\"noopener\">Lisa Kron \u003c/a>(\u003cem>Well\u003c/em>) and Jeanine Tesori’s (\u003cem>Caroline or Change\u003c/em>) Tony-winning musical based on the graphic memoir by \u003ca href=\"https://www.facebook.com/alison.bechdel/\" target=\"_blank\" rel=\"noopener\">Alison Bechdel\u003c/a>, about growing up lesbian in her parent’s funeral home, with a closeted gay dad and a withholding mom. It’s a beautiful and sad coming-of-age story, and the first Broadway musical featuring a lesbian character in the lead. \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12644538\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12644538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-800x495.jpg\" alt=\"Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Audiences for \u003cem>Fun Home\u003c/em> also get to christen the refurbished Curran Theater. Owned by Carole Shorenstein Hays, one of the great local theater producers (\u003cem>Fences\u003c/em>), Shorensteing-Yas says she just spent two years and a “zillion dollars” (she won’t reveal the actual number) refurbishing the Curran, which is near Union Square. As she sat in her favorite seat way up in the balcony, I asked Hays why attending shows at the Curran means so much to her. “Being in the audience,” she said, “illuminates the mind and settles the soul. We’re suddenly together and understanding that we’re not alone. The audience for me is as sacred and as essential as the artists on stage, and when we’re all together, we really become our best.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zLQ1Bvm7SFo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 21\u003c/strong>: \u003ca href=\"http://fatpossum.com/artists/american-wrestlers/\" target=\"_blank\" rel=\"noopener\">American Wrestlers\u003c/a> make music for dancing and thinking, not chokeholds. They’re a St. Louis band led by Scotsman Gary McClure and his wife Bridgette Imperial. They make terrific music with smart lyrics, and I love how tricky categories are in pop music these days. One article about the group described them as alt-rock, indie, power pop, lo-fi, and shoe-gaze. Take your pick, but see them at Bottom of the Hill. \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.UCt1GavV.dpbs\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and David Wiegand discuss the new Curran Theater, a young Diane Arbus, and wrestling",
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"title": "Cy and David's Picks: A Young Photographer, a Jazz Singer, and Making a Fun Home for Theater | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttps://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170120.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Whether the presidential inauguration is making you queasy or giving you a thrill, it’s always a good idea to turn off the TV and take in some shows. As extras this week, we’re suggesting the pianist \u003ca href=\"http://www.hollybowling.com/\" target=\"_blank\" rel=\"noopener\">Holly Bowling’s\u003c/a> reimagining of the Grateful Dead’s songs at the \u003ca href=\"http://centerfornewmusic.com/calendar/\" target=\"_blank\" rel=\"noopener\">Center for New Music on Jan. 25\u003c/a>. Or for pure musical pleasure but with a political payoff, try an inauguration night (Jan. 20) benefit concert by \u003ca href=\"http://www.f49music.com/\" target=\"_blank\" rel=\"noopener\">Frequency 49\u003c/a>, a San Francisco-based woodwind sextet, with all proceeds going to the American Civil Liberties Union, at the \u003ca href=\"http://www.uusf.org/\" target=\"_blank\" rel=\"noopener\">First Unitarian Universalist Church of San Francisco\u003c/a>. \u003c/p>\n\u003cp>Now on to the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p3gcYSndLfc'\n title='//www.youtube.com/embed/p3gcYSndLfc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 21 and 22\u003c/strong>: \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> isn’t like most orchestras. For one, there are no charismatic conductors; instead General Director Andrew Bales picks the repertory, finds a good conductor, and then counts on his devoted musicians to make it all sound great. That formula is working well, and this weekend Bales got \u003ca href=\"http://paulpolivnick.com/\" target=\"_blank\" rel=\"noopener\">Paul Polivnick\u003c/a> (a regular) conducting two pieces by American composer Kevin Puts (once a composer in residence at the California Symphony), Leonard Bernstein’s \u003cem>Fancy Free \u003c/em>(gorgeous), and a violin concerto by \u003ca href=\"http://www.boosey.com/composer/Dmitry+Kabalevsky\" target=\"_blank\" rel=\"noopener\">Dmitri Kabalavsky\u003c/a> that features virtuoso \u003ca href=\"http://www.dispeker.com/artist.php?id=mkamio\" target=\"_blank\" rel=\"noopener\">Mayuko Kamio\u003c/a>. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12645341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12645341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-800x556.jpg\" alt=\"Taxicab driver at the wheel with two passengers, N.Y.C. 1956\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1920x1335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-960x667.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/06.-Diane-Arbus-Taxicab-driver-at-the-wheel-with-two-passengers-N.Y.C.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taxicab driver at the wheel with two passengers, N.Y.C. 1956 \u003ccite>(Photo: Diane Arbus/Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 25–April 30\u003c/strong>: \u003ca href=\"http://nymag.com/thecut/2016/07/diane-arbus-c-v-r.html\" target=\"_blank\" rel=\"noopener\">Diane Arbus\u003c/a> was such a brave photographer, daring to shoot pictures of people on the street who many of us might have been too shy to approach, and outsiders like a fire eater on Coney Island, or a stripper backstage in Atlantic City. And her subjects stare right back at you. The San Francisco Museum of Modern Art is presenting a show of Arbus’s early work (curated by the Metropolitan Museum of Art) called \u003cem>Diane Arbus: In the Beginning,\u003c/em> and these 100 pictures show her already mastering that penetratingly direct gaze. \u003ca href=\"https://www.sfmoma.org/exhibition/diane-arbus-beginning/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gEAVSLzhxN0'\n title='//www.youtube.com/embed/gEAVSLzhxN0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 21\u003c/strong>: The Bay Area’s \u003ca href=\"https://www.andreaclaburn.com/\" target=\"_blank\" rel=\"noopener\">Andrea Claburn\u003c/a> is a young, underappreciated veteran of the West Coast jazz scene. David notes that she’s a true jazz singer, getting the most out of her chosen instrument. She also does her own arrangements, and wrote five of the songs on her new album, \u003cem>Nightshade. \u003c/em>She’s a graduate of Berkeley’s \u003ca href=\"https://cjc.edu/concerts/\" target=\"_blank\" rel=\"noopener\">California Jazz Conservatory\u003c/a>, where she now teaches. For the album, and her gig Jan. 21 at the Jazz Conservatory, she’s working with an all star band: Matt Clark on piano (her regular accompaniist), Erik Jekabson on trumpet, Terence Brewer on guitar, and Jon Santos on percussion. It’s a \u003cstrong>CHEAP THRILL!\u003c/strong>, just $15, and it should be very good. Details \u003ca href=\"https://www.andreaclaburn.com/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> or \u003ca href=\"https://cjc.edu/concerts/?eid=17219\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wMJvLTZOhpE'\n title='//www.youtube.com/embed/wMJvLTZOhpE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 25–Feb. 19\u003c/strong>: I know everyone is gung ho about \u003ca href=\"http://www.hamiltonbroadway.com/tour.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> finally coming to San Francisco, but my feeling is that the \u003ca href=\"http://funhomebroadway.com/tour.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a> tour is just as big a deal. This is \u003ca href=\"http://www.lisakron.org/\" target=\"_blank\" rel=\"noopener\">Lisa Kron \u003c/a>(\u003cem>Well\u003c/em>) and Jeanine Tesori’s (\u003cem>Caroline or Change\u003c/em>) Tony-winning musical based on the graphic memoir by \u003ca href=\"https://www.facebook.com/alison.bechdel/\" target=\"_blank\" rel=\"noopener\">Alison Bechdel\u003c/a>, about growing up lesbian in her parent’s funeral home, with a closeted gay dad and a withholding mom. It’s a beautiful and sad coming-of-age story, and the first Broadway musical featuring a lesbian character in the lead. \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12644538\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12644538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-800x495.jpg\" alt=\"Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-11.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carole Shorenstein Hayes in her favorite seat in the upper balcony at the refurbished Curran Theater \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Audiences for \u003cem>Fun Home\u003c/em> also get to christen the refurbished Curran Theater. Owned by Carole Shorenstein Hays, one of the great local theater producers (\u003cem>Fences\u003c/em>), Shorensteing-Yas says she just spent two years and a “zillion dollars” (she won’t reveal the actual number) refurbishing the Curran, which is near Union Square. As she sat in her favorite seat way up in the balcony, I asked Hays why attending shows at the Curran means so much to her. “Being in the audience,” she said, “illuminates the mind and settles the soul. We’re suddenly together and understanding that we’re not alone. The audience for me is as sacred and as essential as the artists on stage, and when we’re all together, we really become our best.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zLQ1Bvm7SFo'\n title='//www.youtube.com/embed/zLQ1Bvm7SFo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 21\u003c/strong>: \u003ca href=\"http://fatpossum.com/artists/american-wrestlers/\" target=\"_blank\" rel=\"noopener\">American Wrestlers\u003c/a> make music for dancing and thinking, not chokeholds. They’re a St. Louis band led by Scotsman Gary McClure and his wife Bridgette Imperial. They make terrific music with smart lyrics, and I love how tricky categories are in pop music these days. One article about the group described them as alt-rock, indie, power pop, lo-fi, and shoe-gaze. Take your pick, but see them at Bottom of the Hill. \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.UCt1GavV.dpbs\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So let’s start at the end of Youth Speaks’ 20th annual \u003ca href=\"http://youthspeaks.org/mlk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King Jr.\u003c/em>\u003c/a>, a raucous, civic-minded MLK Day celebration at San Francisco’s Nourse Auditorium that believes in the brilliance of the young and the absolute necessity that they speak about, to, and against injustice.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Queen Nyabingha Zianni, the evening’s host, dropped this chilling take on the present situation: “I feel I have integrated my people into a burning house.” And then a little later, the 10-year old son of poet and singer Rico Pabon took to the stage and rapped of “the destruction of the garden of Eden.” Far from ludicrous, the boy’s inclusion seemed right and appropriate. He can feel the times, too.\u003c/p>\n\u003cp>That mixture of the realistic and the apocalyptic made for a thrilling, tense night, and a daring inauguration into the age of Trump. And yet in true Youth Speaks fashion, the anger and despair was leavened by wit and hope. Founder and executive director James Kass kicked things off in his laid-back, messianic style, urging the crowd of 1,700 to “remain hopeful and optimistic, but maybe not for tomorrow.”\u003c/p>\n\u003cfigure id=\"attachment_12646918\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12646918 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg\" alt=\"Young, Gifted, and Black grabs the future at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Young, Gifted, and Black grabs the future at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And while invoking the fear of the near future, Kass asked us to embrace a different future in a different way. “Someone younger than you can be better than you,” Kass said. “We need a new narrative that speaks of justice, equity, and hope.” He wouldn’t be the last adult of the night to preach patience and cede the stage to the young.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Youth Speaks might be the only organization in the country where Moses is a job description. Yet it was clear that many of the young poets attached to the organization have never felt farther from the Promised Land, and that for them hope not only is, but also must be a political and social weapon. When performer Grace Mwambe calmly declared: “Her lungs opened like a dozen fired bullets/And amidst all that silent war/I felt joy/Black joy,” I sensed a young woman battling to hold on to something as basic as happiness. And even in the face of her affirmations, how awful it is that that should be so.\u003c/p>\n\u003cp>Similarly, when Shivani Narang spoke the words, “The only spiritual I know is our resilience and my friends’ hearts,” she laid down a poetics as radical as that of the first modernists. “So, tonight let this poem be grounded in love and let this poem be named dangerous,” Narang declared. And that’s a kind of brilliant encapsulation of \u003cem>Bringing the Noise — \u003c/em>it strives to give an aesthetic and civic representation to King’s belief in love as a political reality.\u003c/p>\n\u003cfigure id=\"attachment_12647118\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647118\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/another-try.jpg\" alt=\"Shivani Narang stakes out a radical poetics at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"425\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-375x214.jpg 375w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Shivani Narang stakes out a radical poetics at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We know that the poets have understood this call to action from the way in which they seek out beauty even under vicious and fraught conditions. The most outrageous moment of the night came when Trey Amos lay on the expansive Nourse Theater stage and got his hair done as he languidly imagined how easy it would be to embrace violence: “With all the flames you see, they should thank you for not burning everything to the ground,” he said. “Instead you place the inferno in your thighs — TO MOVE — no backing down/And continue picking your afro crown.”\u003c/p>\n\u003cp>There have been hundreds of celebrations of black hair. But none I know of until now where the shaping of an Afro quells the impulse to lash back. It’s as if Bigger Thomas in Richard Wright’s \u003cem>Native Son\u003c/em> chose his own beauty over murder. Yet throughout the evening the threat of violence was a sickening reality. Here is the future and the future is afraid of being erased. And “erased” might be too soft a word, and definitely too soft an action to describe what’s going on around us.\u003c/p>\n\u003cp>Youth Speaks has taught countless young people to value what they have to say, what they see and hear around them, their minds and the ability to speak uncomfortable truths with joy and care. They are the living embodiment of hundreds of caring adults (who kindly take on the role of Moses) and now they are under political and social conditions that constantly place them in peril. The Promised Land seems as elusive to this generation as the one before it.\u003c/p>\n\u003cfigure id=\"attachment_12647113\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg\" alt=\"Javon Johnson compares gentrification to cancer in 'Bringing the Noise' at the Nourse Auditorium.\" width=\"427\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-375x212.jpg 375w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Javon Johnson compares gentrification to cancer in ‘Bringing the Noise’ at the Nourse Theater. \u003ccite>(Photo: Bathanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s one more thing to say, which also points to a complicated future. Poem after poem I heard on stage caught this basic fact: In America blackness is an explosive identity. Everything it touches, it transforms — why else did the “\u003ca href=\"https://en.wikipedia.org/wiki/One-drop_rule\" target=\"_blank\" rel=\"noopener\">one-drop rule\u003c/a>” survive for so long? — and there’s not a white, queer, Latino, Asian, or any non-Black person on that stage who doesn’t understand this reality. What’s wonderful is that it’s accepted and seen as redemptive by everyone present. It’s a source of focus and hope.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are many reasons for Trump. One of them is a \u003ca href=\"http://www.cnn.com/2016/11/09/politics/van-jones-results-disappointment-cnntv/\" target=\"_blank\" rel=\"noopener\">whitelash\u003c/a>, a fear of contamination of what the “real” America is and is becoming. So when these young poets talk about skin and the varieties of skin tone, there’s a realization that they are all moving towards the one color that contains them all. As performer Tova Ricardo so aptly stated in her poem: “Black is not one color/Black is not one place/It’s shifting and styling under the grins of society’s eyes.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So let’s start at the end of Youth Speaks’ 20th annual \u003ca href=\"http://youthspeaks.org/mlk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King Jr.\u003c/em>\u003c/a>, a raucous, civic-minded MLK Day celebration at San Francisco’s Nourse Auditorium that believes in the brilliance of the young and the absolute necessity that they speak about, to, and against injustice.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Queen Nyabingha Zianni, the evening’s host, dropped this chilling take on the present situation: “I feel I have integrated my people into a burning house.” And then a little later, the 10-year old son of poet and singer Rico Pabon took to the stage and rapped of “the destruction of the garden of Eden.” Far from ludicrous, the boy’s inclusion seemed right and appropriate. He can feel the times, too.\u003c/p>\n\u003cp>That mixture of the realistic and the apocalyptic made for a thrilling, tense night, and a daring inauguration into the age of Trump. And yet in true Youth Speaks fashion, the anger and despair was leavened by wit and hope. Founder and executive director James Kass kicked things off in his laid-back, messianic style, urging the crowd of 1,700 to “remain hopeful and optimistic, but maybe not for tomorrow.”\u003c/p>\n\u003cfigure id=\"attachment_12646918\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12646918 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg\" alt=\"Young, Gifted, and Black grabs the future at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_the-future-e1484807374375-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Young, Gifted, and Black grabs the future at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And while invoking the fear of the near future, Kass asked us to embrace a different future in a different way. “Someone younger than you can be better than you,” Kass said. “We need a new narrative that speaks of justice, equity, and hope.” He wouldn’t be the last adult of the night to preach patience and cede the stage to the young.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Youth Speaks might be the only organization in the country where Moses is a job description. Yet it was clear that many of the young poets attached to the organization have never felt farther from the Promised Land, and that for them hope not only is, but also must be a political and social weapon. When performer Grace Mwambe calmly declared: “Her lungs opened like a dozen fired bullets/And amidst all that silent war/I felt joy/Black joy,” I sensed a young woman battling to hold on to something as basic as happiness. And even in the face of her affirmations, how awful it is that that should be so.\u003c/p>\n\u003cp>Similarly, when Shivani Narang spoke the words, “The only spiritual I know is our resilience and my friends’ hearts,” she laid down a poetics as radical as that of the first modernists. “So, tonight let this poem be grounded in love and let this poem be named dangerous,” Narang declared. And that’s a kind of brilliant encapsulation of \u003cem>Bringing the Noise — \u003c/em>it strives to give an aesthetic and civic representation to King’s belief in love as a political reality.\u003c/p>\n\u003cfigure id=\"attachment_12647118\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647118\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/another-try.jpg\" alt=\"Shivani Narang stakes out a radical poetics at 'Bringing the Noise for Dr. Martin Luther King Jr.' at the Nourse Auditorium.\" width=\"425\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/another-try-375x214.jpg 375w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Shivani Narang stakes out a radical poetics at ‘Bringing the Noise for Dr. Martin Luther King Jr.’ at the Nourse Auditorium. \u003ccite>(Photo: Bethanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We know that the poets have understood this call to action from the way in which they seek out beauty even under vicious and fraught conditions. The most outrageous moment of the night came when Trey Amos lay on the expansive Nourse Theater stage and got his hair done as he languidly imagined how easy it would be to embrace violence: “With all the flames you see, they should thank you for not burning everything to the ground,” he said. “Instead you place the inferno in your thighs — TO MOVE — no backing down/And continue picking your afro crown.”\u003c/p>\n\u003cp>There have been hundreds of celebrations of black hair. But none I know of until now where the shaping of an Afro quells the impulse to lash back. It’s as if Bigger Thomas in Richard Wright’s \u003cem>Native Son\u003c/em> chose his own beauty over murder. Yet throughout the evening the threat of violence was a sickening reality. Here is the future and the future is afraid of being erased. And “erased” might be too soft a word, and definitely too soft an action to describe what’s going on around us.\u003c/p>\n\u003cp>Youth Speaks has taught countless young people to value what they have to say, what they see and hear around them, their minds and the ability to speak uncomfortable truths with joy and care. They are the living embodiment of hundreds of caring adults (who kindly take on the role of Moses) and now they are under political and social conditions that constantly place them in peril. The Promised Land seems as elusive to this generation as the one before it.\u003c/p>\n\u003cfigure id=\"attachment_12647113\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12647113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg\" alt=\"Javon Johnson compares gentrification to cancer in 'Bringing the Noise' at the Nourse Auditorium.\" width=\"427\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YouthSpeaks_Anger-e1484808481176-375x212.jpg 375w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Javon Johnson compares gentrification to cancer in ‘Bringing the Noise’ at the Nourse Theater. \u003ccite>(Photo: Bathanie Hines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s one more thing to say, which also points to a complicated future. Poem after poem I heard on stage caught this basic fact: In America blackness is an explosive identity. Everything it touches, it transforms — why else did the “\u003ca href=\"https://en.wikipedia.org/wiki/One-drop_rule\" target=\"_blank\" rel=\"noopener\">one-drop rule\u003c/a>” survive for so long? — and there’s not a white, queer, Latino, Asian, or any non-Black person on that stage who doesn’t understand this reality. What’s wonderful is that it’s accepted and seen as redemptive by everyone present. It’s a source of focus and hope.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are many reasons for Trump. One of them is a \u003ca href=\"http://www.cnn.com/2016/11/09/politics/van-jones-results-disappointment-cnntv/\" target=\"_blank\" rel=\"noopener\">whitelash\u003c/a>, a fear of contamination of what the “real” America is and is becoming. So when these young poets talk about skin and the varieties of skin tone, there’s a realization that they are all moving towards the one color that contains them all. As performer Tova Ricardo so aptly stated in her poem: “Black is not one color/Black is not one place/It’s shifting and styling under the grins of society’s eyes.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aIjjB2KLCJQ\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jiXy25ejFzU\u003c/p>\n\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hL28CrEaOsE\u003c/p>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aIjjB2KLCJQ'\n title='//www.youtube.com/embed/aIjjB2KLCJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jiXy25ejFzU'\n title='//www.youtube.com/embed/jiXy25ejFzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hL28CrEaOsE'\n title='//www.youtube.com/embed/hL28CrEaOsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">Thrillpeddlers,\u003c/a> the South of Market theater company that has specialized in horror and high camp for 26 years, will likely produce its last show in February. Russell Blackwood, the company founder and producing director, learned on New Year’s Day that the owners of the Hypnodrome, Thrillpeddlers’ custom built theater, had sold the building.\u003c/p>\n\u003cp>The new owner, Blackwood said, runs a furniture showroom which was recently priced out of the San Francisco Design Center.\u003c/p>\n\u003cp>Thrillpeddlers specializes in revivals of gory 19th century \u003ca href=\"https://en.wikipedia.org/wiki/Grand_Guignol\" target=\"_blank\" rel=\"noopener\">Grand Guignol plays\u003c/a>, which often spatter fake blood on audience members, alongside revivals of work first produced by the \u003ca href=\"http://www.cockettes.com/\" target=\"_blank\" rel=\"noopener\">Cockettes,\u003c/a> a drag theater troupe founded in the 1970s. “There is an underground aspect, and a sex-positive aspect that belonged South of Market and in the Folsom,” Blackwood says.\u003c/p>\n\u003cp>But despite the gory and sexually-charged content of most of the company’s shows, Blackwood aims to be inclusive. “I saw this as being a community theater,” he says.\u003c/p>\n\u003cfigure id=\"attachment_12604268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12604268 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg\" alt=\"Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers \u003ccite>(Photo: David Allen/Thrillpeddlers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blackwood also runs a kids’ theater workshop, \u003cem>Creepshow Camp\u003c/em>, to teach younger devotees how to stage science fiction and horror shows of their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the company’s sole employee, Blackwood says he’s not sure he wants to keep Thrillpeddlers going if it means moving to another space. He loves the intimacy of the 45-seat Hypnodrome. And he says he’s equipped the theater with special features designed to frighten audiences at the company’s annual Halloween \u003cem>Shocktoberfest\u003c/em> shows, including a realistic-looking guillotine.\u003c/p>\n\u003cp>Blackwood isn’t mad at his landlords. “These gentlemen are our benefactors,” He says. “The rent was always well below market rate, and their relationship with us has been like family.”\u003c/p>\n\u003cp>Thrillpeddlers is going out in typical style with a series of nude readings of the fantastical writings of H. P. Lovecraft — \u003cem>\u003ca href=\"http://www.hypnodrome.org/\" target=\"_blank\" rel=\"noopener\">Naked Dudes Reading Lovecraft\u003c/a> — \u003c/em>and a semi-staged concert of the new musical \u003cem>Amazon Apocalypse — or How the Devil Came to Save the Planet\u003c/em>, plus two benefit variety shows and a rummage sale of props and costumes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked for an epitaph for the company, Blackwood says he’d like the Thrillpeddlers tombstone to say, “They were the San Francisco you moved here to meet.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">Thrillpeddlers,\u003c/a> the South of Market theater company that has specialized in horror and high camp for 26 years, will likely produce its last show in February. Russell Blackwood, the company founder and producing director, learned on New Year’s Day that the owners of the Hypnodrome, Thrillpeddlers’ custom built theater, had sold the building.\u003c/p>\n\u003cp>The new owner, Blackwood said, runs a furniture showroom which was recently priced out of the San Francisco Design Center.\u003c/p>\n\u003cp>Thrillpeddlers specializes in revivals of gory 19th century \u003ca href=\"https://en.wikipedia.org/wiki/Grand_Guignol\" target=\"_blank\" rel=\"noopener\">Grand Guignol plays\u003c/a>, which often spatter fake blood on audience members, alongside revivals of work first produced by the \u003ca href=\"http://www.cockettes.com/\" target=\"_blank\" rel=\"noopener\">Cockettes,\u003c/a> a drag theater troupe founded in the 1970s. “There is an underground aspect, and a sex-positive aspect that belonged South of Market and in the Folsom,” Blackwood says.\u003c/p>\n\u003cp>But despite the gory and sexually-charged content of most of the company’s shows, Blackwood aims to be inclusive. “I saw this as being a community theater,” he says.\u003c/p>\n\u003cfigure id=\"attachment_12604268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12604268 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg\" alt=\"Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Thrillpeddlers-Russell-Blackwood-e1484008663729.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scrumbly Koldwyn, founder of the Cockettes, and Russell Blackwood, founder of Thrillpeddlers \u003ccite>(Photo: David Allen/Thrillpeddlers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blackwood also runs a kids’ theater workshop, \u003cem>Creepshow Camp\u003c/em>, to teach younger devotees how to stage science fiction and horror shows of their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the company’s sole employee, Blackwood says he’s not sure he wants to keep Thrillpeddlers going if it means moving to another space. He loves the intimacy of the 45-seat Hypnodrome. And he says he’s equipped the theater with special features designed to frighten audiences at the company’s annual Halloween \u003cem>Shocktoberfest\u003c/em> shows, including a realistic-looking guillotine.\u003c/p>\n\u003cp>Blackwood isn’t mad at his landlords. “These gentlemen are our benefactors,” He says. “The rent was always well below market rate, and their relationship with us has been like family.”\u003c/p>\n\u003cp>Thrillpeddlers is going out in typical style with a series of nude readings of the fantastical writings of H. P. Lovecraft — \u003cem>\u003ca href=\"http://www.hypnodrome.org/\" target=\"_blank\" rel=\"noopener\">Naked Dudes Reading Lovecraft\u003c/a> — \u003c/em>and a semi-staged concert of the new musical \u003cem>Amazon Apocalypse — or How the Devil Came to Save the Planet\u003c/em>, plus two benefit variety shows and a rummage sale of props and costumes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked for an epitaph for the company, Blackwood says he’d like the Thrillpeddlers tombstone to say, “They were the San Francisco you moved here to meet.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-a-wonder-woman-vaudeville-at-sketchfest-and-a-benefit-with-the-dodos",
"title": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos",
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"headTitle": "Cy and David’s Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos | KQED",
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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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"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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"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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"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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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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