window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_12419658": {
"type": "attachments",
"id": "arts_12419658",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12419658",
"found": true
},
"parent": 12419647,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/hamilton.MAIN_.rev2_-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1480551530,
"modified": 1480551541,
"caption": "Presale tickets for 'Hamilton' in San Francisco go on sale Dec. 2.",
"description": "Presale tickets for 'Hamilton' in San Francisco go on sale Dec. 2.",
"title": "hamilton-main-rev2",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12418804": {
"type": "attachments",
"id": "arts_12418804",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12418804",
"found": true
},
"parent": 12418801,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-520x296.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 296
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-160x91.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 91
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-960x546.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 546
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-375x213.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 213
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112.jpg",
"width": 1514,
"height": 861
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-1020x580.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 580
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-1180x671.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 671
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-800x455.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 455
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-1180x671.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 671
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-768x437.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 437
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Luzia-Photo-e1480535106112-240x136.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 136
}
},
"publishDate": 1480534986,
"modified": 1480546212,
"caption": "Performers in 'Luzia,' the Cirque du Soleil show in San Francisco.",
"description": "Performers in 'Luzia,' the Cirque du Soleil show in San Francisco",
"title": "Performers in 'Luzia,' the Cirque du Soleil show in San Francisco",
"credit": "Photo: Courtesy of Cirque du Soleil",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"about_7897": {
"type": "attachments",
"id": "about_7897",
"meta": {
"index": "attachments_1716263798",
"site": "about",
"id": "7897",
"found": true
},
"parent": 7894,
"imgSizes": {
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-160x109.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 109
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-375x255.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 255
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live.jpg",
"width": 470,
"height": 320
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2016/11/snap-judement-live-240x163.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 163
}
},
"publishDate": 1480530132,
"modified": 1480530151,
"caption": null,
"description": null,
"title": "snap-judement-live",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12381802": {
"type": "attachments",
"id": "arts_12381802",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12381802",
"found": true
},
"parent": 12381231,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-520x293.png",
"width": 520,
"mimeType": "image/png",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-1024x576.png",
"width": 1024,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-960x541.png",
"width": 960,
"mimeType": "image/png",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-375x211.png",
"width": 375,
"mimeType": "image/png",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603.png",
"width": 967,
"height": 545
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-1020x700.png",
"width": 1020,
"mimeType": "image/png",
"height": 700
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-800x451.png",
"width": 800,
"mimeType": "image/png",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-768x433.png",
"width": 768,
"mimeType": "image/png",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Photo-by-Eleanor-Stills-1-e1479850429603-240x135.png",
"width": 240,
"mimeType": "image/png",
"height": 135
}
},
"publishDate": 1479850255,
"modified": 1479943100,
"caption": "Poet and rapper George Watsky.",
"description": "Poet and rapper George Watsky.",
"title": "Poet and rapper George Watsky.",
"credit": "Photo: Elanor Stills, Courtesy of George Watsky",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12385794": {
"type": "attachments",
"id": "arts_12385794",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12385794",
"found": true
},
"parent": 12385793,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384.jpg",
"width": 638,
"height": 359
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Here-Lies-Love-Press-Photo-e1479927117384-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1479927030,
"modified": 1479927089,
"caption": "Here Lies Love was suposed to come to the American Conservatory Theater in June",
"description": "Here Lies Love was suposed to come to the American Conservatory Theater in June",
"title": "Here Lies Love was suposed to come to the American Conservatory Theater in June",
"credit": "Photo: Courtesy of Public Theater",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12368330": {
"type": "attachments",
"id": "arts_12368330",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12368330",
"found": true
},
"parent": 12368326,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-520x325.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 325
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-960x600.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 600
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-375x234.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 234
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube.jpg",
"width": 1110,
"height": 694
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/HamiltonYouTube-240x150.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 150
}
},
"publishDate": 1479593376,
"modified": 1479593455,
"caption": "Brandon Victor Dixon, who plays the role of Aaron Burr in 'Hamilton,' addresses Vice President-Elect Mike Pence on Nov. 18, 2016.",
"description": "Brandon Victor Dixon, who plays the role of Aaron Burr in 'Hamilton,' addresses Vice President-Elect Mike Pence on Nov. 18, 2016.",
"title": "hamiltonyoutube",
"credit": "YouTube",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12359545": {
"type": "attachments",
"id": "arts_12359545",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12359545",
"found": true
},
"parent": 12358960,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-520x285.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 285
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-160x88.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 88
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-960x525.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 525
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-375x205.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 205
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279.jpg",
"width": 2448,
"height": 1340
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1020x558.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 558
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1180x646.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 646
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-800x438.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 438
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1920x1051.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1051
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1180x646.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 646
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-1920x1051.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1051
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-768x420.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 420
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-1-Low-Res-2.4M_1390506-e1479423064279-240x131.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 131
}
},
"publishDate": 1479422760,
"modified": 1479423018,
"caption": "Jia Taylor and Kehinde Koyejo appear as Mary and Blondelle in Word for Word's production of 'All Aunt Hagar's Children' at Z Space ",
"description": "Jia Taylor and Kehinde Koyejo appear as Mary and Blondelle in Word for Word's production of 'All Aunt Hagar's Children' at Z Space ",
"title": "Jia Taylor and Kehinde Koyejo appear as Mary and Blondelle in Word for Word's production of 'All Aunt Hagar's Children' at Z Space",
"credit": "Photo: Mel Solomon/Word for Word",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12327634": {
"type": "attachments",
"id": "arts_12327634",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12327634",
"found": true
},
"parent": 12327437,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best.jpg",
"width": 1080,
"height": 608
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/StandGroundFeaturedImage_best-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1478826545,
"modified": 1478846121,
"caption": "Jasmine Johnson, a U.S. Navy veteran, performs in \"Stand Ground\" at CounterPulse.",
"description": "Jasmine Johnson, a U.S. Navy veteran, performs in \"Stand Ground\" at CounterPulse.",
"title": "standgroundfeaturedimage_best",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12329531": {
"type": "attachments",
"id": "arts_12329531",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12329531",
"found": true
},
"parent": 12329528,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609.jpg",
"width": 6010,
"height": 3380
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Baryshnikov-1-credit-courtesy-e1478863458609-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1478863178,
"modified": 1478864486,
"caption": "Vaslav Nijinsky (Mikhail Baryshnikov) in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.",
"description": "Vaslav Nijinsky (Mikhail Baryshnikov) in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.",
"title": "LETTER TO A MAN",
"credit": "Photo: Lucy Jansch",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12284196": {
"type": "attachments",
"id": "arts_12284196",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12284196",
"found": true
},
"parent": 12283997,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-520x287.jpeg",
"width": 520,
"mimeType": "image/jpeg",
"height": 287
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-1024x576.jpeg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-160x88.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 88
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-960x530.jpeg",
"width": 960,
"mimeType": "image/jpeg",
"height": 530
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-375x207.jpeg",
"width": 375,
"mimeType": "image/jpeg",
"height": 207
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802.jpeg",
"width": 1024,
"height": 565
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-1020x563.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 563
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-50x50.jpeg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-800x441.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 441
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-150x150.jpeg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-768x424.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 424
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/11/Black-River-4-featured-e1477983959802-240x132.jpeg",
"width": 240,
"mimeType": "image/jpeg",
"height": 132
}
},
"publishDate": 1477983854,
"modified": 1477985780,
"caption": "(L to R) Gary (Brian Smick) shows off his best Pete Townshend moves to Colleen (Kathleen McHatton) in Performers Under Stress' production of 'Black River Falls' by Bryn Magnus.",
"description": "(L to R) Gary (Brian Smick) shows off his best Pete Townshend moves to Colleen (Kathleen McHatton) in Performers Under Stress' production of 'Black River Falls' by Bryn Magnus.",
"title": "black-river-4-featured",
"credit": "Photo: James Charles Lyons",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12260640": {
"type": "attachments",
"id": "arts_12260640",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12260640",
"found": true
},
"parent": 12237581,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505.jpg",
"width": 3910,
"height": 2200
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/wmliketotallyheklinabyjagcphotography2-e1477601036505-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1477521611,
"modified": 1477600905,
"caption": "Heklina, host of SF Opera Lab's 'Drag Queen of the Opera' pop-up event at Oasis.",
"description": "Heklina, host of SF Opera Lab's Drag Queen of the Opera pop-up event at Oasis.",
"title": "Heklina",
"credit": "Photo: José Guzman-Colon",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12257697": {
"type": "attachments",
"id": "arts_12257697",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12257697",
"found": true
},
"parent": 12257503,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/10/Woolf1-e1477468348493-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1477467862,
"modified": 1477587084,
"caption": "(L to R) Martha (Beth Wilmurt) seethes at the world as her husband George (David Sinaiko) looks on in the Shotgun Players' production of 'Who's Afraid of Virginia Woolf?' by Edward Albee.",
"description": "(L to R) Martha (Beth Wilmurt) seethes at the world as her husband George (David Sinako) looks on in the Shotgun Players' production of 'Who's Afraid of Virginia Woolf?' by Edward Albee.",
"title": "Woolf1",
"credit": "Photo: Jessica Palopoli",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_12327437": {
"type": "authors",
"id": "byline_arts_12327437",
"meta": {
"override": true
},
"slug": "byline_arts_12327437",
"name": "Mike Seely",
"isLoading": false
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"onqblog": {
"type": "authors",
"id": "6626",
"meta": {
"index": "authors_1716337520",
"id": "6626",
"found": true
},
"name": "On KQED",
"firstName": null,
"lastName": null,
"slug": "onqblog",
"email": "facebook@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/4d473a725414594c918f2d15becd4fdd?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "about",
"roles": [
"editor"
]
},
{
"site": "pressroom",
"roles": [
"editor"
]
},
{
"site": "tvchanges",
"roles": [
"editor"
]
},
{
"site": "transmitterstatus",
"roles": [
"editor"
]
}
],
"headData": {
"title": "On KQED | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/4d473a725414594c918f2d15becd4fdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/4d473a725414594c918f2d15becd4fdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/onqblog"
},
"ctiee": {
"type": "authors",
"id": "8660",
"meta": {
"index": "authors_1716337520",
"id": "8660",
"found": true
},
"name": "Charlise Tiee",
"firstName": "Charlise",
"lastName": "Tiee",
"slug": "ctiee",
"email": "snailwing@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Bay Area-based writer and painter. Reviews performances of classical music and audience behavior at \u003ca href=\"http://operatattler.com\" target=\"_blank\">The Opera Tattler\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Charlise Tiee | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ctiee"
},
"jwilkins": {
"type": "authors",
"id": "8668",
"meta": {
"index": "authors_1716337520",
"id": "8668",
"found": true
},
"name": "John Wilkins",
"firstName": "John",
"lastName": "Wilkins",
"slug": "jwilkins",
"email": "Johnrwilkins@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "John Wilkins is the theater critic for KQED Arts. He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2",
"avatar": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "John Wilkins | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jwilkins"
}
},
"pagesReducer": {
"arts_category_theater": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"score": 12.282726
},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"title": "Theater",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 50
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=theater",
"seeMore": false,
"paginated": true,
"page": 50
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_12419647": {
"type": "posts",
"id": "arts_12419647",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12419647",
"score": null,
"sort": [
1480550074000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1480550074,
"format": "image",
"title": "Ticket Alert: 'Hamilton' in San Francisco",
"headTitle": "Ticket Alert: ‘Hamilton’ in San Francisco | KQED",
"content": "\u003cp>At long last, ticket information for the San Francisco run of \u003cem>Hamilton\u003c/em> is here.\u003c/p>\n\u003cp>SHN announced Wednesday that presale tickets for \u003cem>Hamilton\u003c/em> will go on sale to American Express cardholders on Monday, Dec. 5, at 10am. Those tickets may be purchased only with an American Express card, starting Dec. 5, at \u003ca href=\"http://www.hamilton.shnsf.com\" target=\"_blank\" rel=\"noopener\">this link right here\u003c/a>. \u003c/p>\n\u003cp>Tickets go on sale to the general public for \u003cem>Hamilton\u003c/em> on Monday, Dec. 12, at 10am. Tickets may be purchased at \u003ca href=\"http://www.hamilton.shnsf.com\" target=\"_blank\" rel=\"noopener\">this link right here\u003c/a>. Ticket may also be purchased by calling (888) 746-1799, or by visiting the SHN Orpheum Theatre Box Office.\u003c/p>\n\u003cp>Tickets cost $100-$197 each for regular performances, with select premium seats for all performances running $524. There is a six ticket limit per household.\u003c/p>\n\u003cp>To keep things interesting, there will also be a day-of-show lottery for $10 seats for all performances. Details for the day-of-show tickets will be announced closer to the run of the show. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> runs March 10–Aug. 5, 2017, at the Orpheum Theater in San Francisco. The production will feature an all-new cast, yet to be announced, from the original Broadway production.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For full details as they are known, visit \u003ca href=\"https://www.hamilton.shnsf.com/\" target=\"_blank\" rel=\"noopener\">SHN’s FAQ about \u003cem>Hamilton\u003c/em>\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 208,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705032351,
"excerpt": "Here's everything you need to know to get tickets for the San Francisco run of 'Hamilton,' which go on sale next week.\r\n",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Here's everything you need to know to get tickets for the San Francisco run of 'Hamilton,' which go on sale next week.\r\n",
"title": "Ticket Alert: 'Hamilton' in San Francisco | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ticket Alert: 'Hamilton' in San Francisco",
"datePublished": "2016-11-30T15:54:34-08:00",
"dateModified": "2024-01-11T20:05:51-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ticket-alert-hamilton-in-san-francisco",
"status": "publish",
"sticky": false,
"path": "/arts/12419647/ticket-alert-hamilton-in-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At long last, ticket information for the San Francisco run of \u003cem>Hamilton\u003c/em> is here.\u003c/p>\n\u003cp>SHN announced Wednesday that presale tickets for \u003cem>Hamilton\u003c/em> will go on sale to American Express cardholders on Monday, Dec. 5, at 10am. Those tickets may be purchased only with an American Express card, starting Dec. 5, at \u003ca href=\"http://www.hamilton.shnsf.com\" target=\"_blank\" rel=\"noopener\">this link right here\u003c/a>. \u003c/p>\n\u003cp>Tickets go on sale to the general public for \u003cem>Hamilton\u003c/em> on Monday, Dec. 12, at 10am. Tickets may be purchased at \u003ca href=\"http://www.hamilton.shnsf.com\" target=\"_blank\" rel=\"noopener\">this link right here\u003c/a>. Ticket may also be purchased by calling (888) 746-1799, or by visiting the SHN Orpheum Theatre Box Office.\u003c/p>\n\u003cp>Tickets cost $100-$197 each for regular performances, with select premium seats for all performances running $524. There is a six ticket limit per household.\u003c/p>\n\u003cp>To keep things interesting, there will also be a day-of-show lottery for $10 seats for all performances. Details for the day-of-show tickets will be announced closer to the run of the show. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> runs March 10–Aug. 5, 2017, at the Orpheum Theater in San Francisco. The production will feature an all-new cast, yet to be announced, from the original Broadway production.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For full details as they are known, visit \u003ca href=\"https://www.hamilton.shnsf.com/\" target=\"_blank\" rel=\"noopener\">SHN’s FAQ about \u003cem>Hamilton\u003c/em>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12419647/ticket-alert-hamilton-in-san-francisco",
"authors": [
"185"
],
"categories": [
"arts_967"
],
"tags": [
"arts_596",
"arts_700"
],
"featImg": "arts_12419658",
"label": "arts"
},
"arts_12418801": {
"type": "posts",
"id": "arts_12418801",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12418801",
"score": null,
"sort": [
1480546430000
]
},
"guestAuthors": [],
"slug": "cirque-du-soleil-suspends-performances-following-worker-death",
"title": "Cirque du Soleil Suspends Performances Following Worker Death",
"publishDate": 1480546430,
"format": "standard",
"headTitle": "Cirque du Soleil Suspends Performances Following Worker Death | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cstrong>Update: 1 p.m. Tuesday: \u003c/strong>The cast and crew of Cirque du Soleil’s LUZIA announced that they will resume their regular performance schedule tonight, Tuesday, Dec. 6 at 8 p.m. In a statement, the company wrote: “Cirque du Soleil wishes to thank fans, friends, family members, the San Francisco community and the entire Cirque du Soleil family from around the world for their love and support through these difficult times.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.dir.ca.gov/dosh/\" target=\"_blank\" rel=\"noopener\">Cal/OSHA\u003c/a>, the state’s workplace safety agency, is investigating an accident that killed a worker at the \u003ca href=\"https://www.cirquedusoleil.com/luzia\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil show \u003cem>Luzia\u003c/em>\u003c/a> in San Francisco Tuesday night.\u003c/p>\n\u003cp>“According to an outside source that reported it to Cal/OSHA, the maintenance worker was struck in the head by an aerial device,” said Cal/OSHA public information officer Julia Bernstein.\u003c/p>\n\u003cp>The deceased employee, Olivier Rochette, was 42, and he was the son of Gilles Ste-Croix, one of the founders of the globetrotting, Montreal-based circus troupe. A statement released by Cirque du Soleil following the news of Rochette’s death said his father has been informed of the accident.\u003c/p>\n\u003cp>“The entire Cirque du Soleil family is deeply saddened by the accidental death of \u003cem>Luzia\u003c/em> technician, Olivier Rochette,” said Cirque du Soleil CEO Daniel Lamarre in a statement released Wednesday. “Olivier has always been a member of our tight family and a beloved colleague.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cirque du Soleil frequently brings its spectacular productions to the Bay Area, and Bernstein said Cirque du Soleil has had a clean safety record in California over the last five years. The company has a reputation for high safety standards, albeit one marred by the death of an aerial acrobat during a performance in Las Vegas in 2013.\u003c/p>\n\u003cp>The accident has derailed the performance schedule for \u003cem>Luzia\u003c/em>, which has received positive reviews from local critics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cirque du Soleil canceled Tuesday night’s show after the accident, and announced a cancellation of Wednesday night’s performance as well. “Cirque du Soleil will determine the status of tomorrow’s performances at a later time,” the statement added.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Cal/OSHA investigates the death of a maintenance worker at Cirque du Soleil's San Francisco show.",
"status": "publish",
"parent": 0,
"modified": 1726787296,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 368
},
"headData": {
"title": "Cirque du Soleil Suspends Performances Following Worker Death | KQED",
"description": "Cal/OSHA investigates the death of a maintenance worker at Cirque du Soleil's San Francisco show.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cirque du Soleil Suspends Performances Following Worker Death",
"datePublished": "2016-11-30T14:53:50-08:00",
"dateModified": "2024-09-19T16:08:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12418801/cirque-du-soleil-suspends-performances-following-worker-death",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update: 1 p.m. Tuesday: \u003c/strong>The cast and crew of Cirque du Soleil’s LUZIA announced that they will resume their regular performance schedule tonight, Tuesday, Dec. 6 at 8 p.m. In a statement, the company wrote: “Cirque du Soleil wishes to thank fans, friends, family members, the San Francisco community and the entire Cirque du Soleil family from around the world for their love and support through these difficult times.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.dir.ca.gov/dosh/\" target=\"_blank\" rel=\"noopener\">Cal/OSHA\u003c/a>, the state’s workplace safety agency, is investigating an accident that killed a worker at the \u003ca href=\"https://www.cirquedusoleil.com/luzia\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil show \u003cem>Luzia\u003c/em>\u003c/a> in San Francisco Tuesday night.\u003c/p>\n\u003cp>“According to an outside source that reported it to Cal/OSHA, the maintenance worker was struck in the head by an aerial device,” said Cal/OSHA public information officer Julia Bernstein.\u003c/p>\n\u003cp>The deceased employee, Olivier Rochette, was 42, and he was the son of Gilles Ste-Croix, one of the founders of the globetrotting, Montreal-based circus troupe. A statement released by Cirque du Soleil following the news of Rochette’s death said his father has been informed of the accident.\u003c/p>\n\u003cp>“The entire Cirque du Soleil family is deeply saddened by the accidental death of \u003cem>Luzia\u003c/em> technician, Olivier Rochette,” said Cirque du Soleil CEO Daniel Lamarre in a statement released Wednesday. “Olivier has always been a member of our tight family and a beloved colleague.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cirque du Soleil frequently brings its spectacular productions to the Bay Area, and Bernstein said Cirque du Soleil has had a clean safety record in California over the last five years. The company has a reputation for high safety standards, albeit one marred by the death of an aerial acrobat during a performance in Las Vegas in 2013.\u003c/p>\n\u003cp>The accident has derailed the performance schedule for \u003cem>Luzia\u003c/em>, which has received positive reviews from local critics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cirque du Soleil canceled Tuesday night’s show after the accident, and announced a cancellation of Wednesday night’s performance as well. “Cirque du Soleil will determine the status of tomorrow’s performances at a later time,” the statement added.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12418801/cirque-du-soleil-suspends-performances-following-worker-death",
"authors": [
"32"
],
"categories": [
"arts_1",
"arts_235",
"arts_967"
],
"tags": [
"arts_1448",
"arts_746",
"arts_596"
],
"featImg": "arts_12418804",
"label": "arts"
},
"about_7894": {
"type": "posts",
"id": "about_7894",
"meta": {
"index": "posts_1716263798",
"site": "about",
"id": "7894",
"score": null,
"sort": [
1480530286000
]
},
"parent": 0,
"labelTerm": {
"site": "about",
"term": 15
},
"blocks": [],
"publishDate": 1480530286,
"format": "standard",
"disqusTitle": "Win Tickets to Snap Judgment LIVE!",
"title": "Win Tickets to Snap Judgment LIVE!",
"headTitle": "Giveaways | About KQED",
"content": "\u003cp>The \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">Snap Judgment LIVE\u003c/a> Tour comes home to San Francisco with a brand new \"Storytelling with a BEAT.\" See Glynn Washington and the world's top storytellers rock the Nourse Theatre like it's never been rocked. Be there...\u003c/p>\n\u003cp>\u003cstrong>For a chance to win tickets, just send an email to \u003ca href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a>\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>with the subject “SNAP Live” that contains your full name.\u003c/strong>\u003c/p>\n\u003cp>From all entries, we’ll randomly select five \u003cstrong>winners for a pair of tickets\u003c/strong> (worth $22 each). \u003cstrong>Deadline to\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>enter\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>is Thursday, December 1 at 11:59 pm. \u003c/strong>Winners will be notified by e-mail on Friday morning, and tickets will be held at Will Call. You must be a California resident and 21 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">Snap Judgement LIVE!\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.cityarts.net/nourse/\">Nourse Theater\u003c/a>\u003cbr>\n\u003cstrong>December 3 at 7:00 pm\u003cbr>\n\u003c/strong>\u003cstrong>275 Hayes Street\u003cbr>\nSan Francisco, CA 94102\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>Tickets available at \u003cstrong>\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">cityboxoffice.com\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"disqusIdentifier": "7894 http://ww2.kqed.org/about?p=7894&preview=true&preview_id=7894",
"disqusUrl": "https://ww2.kqed.org/about/2016/11/30/win-tickets-to-snap-judgment-live/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 170,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1480530386,
"excerpt": null,
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Snap Judgment LIVE Tour comes home to San Francisco with a brand new "Storytelling with a BEAT." See Glynn Washington and the world's top storytellers rock the Nourse Theatre like it's never been rocked. Be there... For a chance to win tickets, just send an email to giveaway@kqed.org with the subject “SNAP Live” that contains your full",
"title": "Win Tickets to Snap Judgment LIVE! | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Win Tickets to Snap Judgment LIVE!",
"datePublished": "2016-11-30T10:24:46-08:00",
"dateModified": "2016-11-30T10:26:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "win-tickets-to-snap-judgment-live",
"status": "publish",
"path": "/about/7894/win-tickets-to-snap-judgment-live",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">Snap Judgment LIVE\u003c/a> Tour comes home to San Francisco with a brand new \"Storytelling with a BEAT.\" See Glynn Washington and the world's top storytellers rock the Nourse Theatre like it's never been rocked. Be there...\u003c/p>\n\u003cp>\u003cstrong>For a chance to win tickets, just send an email to \u003ca href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a>\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>with the subject “SNAP Live” that contains your full name.\u003c/strong>\u003c/p>\n\u003cp>From all entries, we’ll randomly select five \u003cstrong>winners for a pair of tickets\u003c/strong> (worth $22 each). \u003cstrong>Deadline to\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>enter\u003c/strong>\u003cstrong> \u003c/strong>\u003cstrong>is Thursday, December 1 at 11:59 pm. \u003c/strong>Winners will be notified by e-mail on Friday morning, and tickets will be held at Will Call. You must be a California resident and 21 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">Snap Judgement LIVE!\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.cityarts.net/nourse/\">Nourse Theater\u003c/a>\u003cbr>\n\u003cstrong>December 3 at 7:00 pm\u003cbr>\n\u003c/strong>\u003cstrong>275 Hayes Street\u003cbr>\nSan Francisco, CA 94102\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>Tickets available at \u003cstrong>\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2261\">cityboxoffice.com\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/about/7894/win-tickets-to-snap-judgment-live",
"authors": [
"6626"
],
"programs": [
"about_15"
],
"featImg": "about_7897",
"label": "about_15"
},
"arts_12381231": {
"type": "posts",
"id": "arts_12381231",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12381231",
"score": null,
"sort": [
1480035644000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-celebrating-romance-remembering-leonard-cohen-and-a-sci-fi-trump-rap",
"title": "Cy and David's Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap",
"publishDate": 1480035644,
"format": "standard",
"headTitle": "Cy and David’s Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/294337092″ 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>Here at the Do List, we are mourning the \u003ca href=\"https://ww2.kqed.org/arts/2016/11/18/sharon-jones-singer-and-soul-funk-bandleader-dies-at-60/\" target=\"_blank\" rel=\"noopener\">death of Sharon Jones \u003c/a>at just 60 years old. She brought such joy and power to her music. But we’re happy to have survived Thanksgiving family potlucks, and to point you to music and shows that will bring you joy. Try the \u003ca href=\"http://www.cafestritch.com/events/\" target=\"_blank\" rel=\"noopener\">Dynamic Miss Faye Carol singing the songs of Duke Ellington\u003c/a> at San Jose’s Cafe Stritch on Nov. 26, and \u003ca href=\"http://odcdance.org/performance.php?param=2\" target=\"_blank\" rel=\"noopener\">ODC’s 30th anniversary revival of \u003c/a>\u003cem>The Velveteen Rabbit, \u003c/em>about a stuffed rabbit that comes to life and dances beautifully, running Nov. 25–Dec. 11.\u003cem> \u003c/em>\u003c/p>\n\u003cp>And now for the main list.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VTK0Ah2EKAc\u003c/p>\n\u003cp>\u003cstrong>Nov. 27\u003c/strong>: When the Nobel Prize Committee announced that a singer-songwriter was receiving the prize for literature, \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/leonard-cohen-hugely-influential-songwriter-and-author-dies-at-82/\" target=\"_blank\" rel=\"noopener\">Leonard Cohen \u003c/a>seemed as likely a choice as Bob Dylan. On Sunday, devoted Cohen fans will want to flock to a memorial show featuring the 30-member a cappella choir \u003ca href=\"http://conspiracyofbeards.com/\" target=\"_blank\" rel=\"noopener\">Conspiracy of Beards\u003c/a>, San Francisco’s\u003ca href=\"http://chuckprophet.com/\" target=\"_blank\" rel=\"noopener\"> Chuck Prophet\u003c/a>, Cohen biographer and singer \u003ca href=\"http://sylviesimmons.com/\" target=\"_blank\" rel=\"noopener\">Sylvie Simmons\u003c/a>, singer-songwriter Mark Kozelek, Sarah Bethe Nelson, Christopher Owens and others. My favorite songs: “Suzanne,” because I loved both Cohen’s version and the Judy Collins’ cover in college, and “Everybody Knows,” which is one reason I never play craps. Details for \u003cem>Songs of Love and Hate: A Tribute to Leonard Cohen\u003c/em> at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1387002-songs-love-hate-san-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12382395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12382395\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg\" alt=\"Tsunehisa Kimura's work is part of the show 'Japanese Photography from Postwar to Now' at SFMOMA\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-520x361.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795.jpg 1791w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tsunehisa Kimura’s work is part of the show ‘Japanese Photography from Postwar to Now’ at SFMOMA. \u003ccite>(Photo: Courtesy of Tsunehisa Kimura)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12:\u003c/strong> \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">\u003cem>Japanese Photography from Postwar to Now\u003c/em>\u003c/a> has just opened at SFMOMA with images that cover the period from the end of World War II, after the US dropped an atomic bomb on Hiroshima, to the nuclear plant disaster in Fukushima. \u003ca href=\"http://www.sfgate.com/news/article/SFMOMA-photography-curator-Sandra-Phillips-7243926.php\" target=\"_blank\" rel=\"noopener\">Curator Emeritus Sandra Phillips \u003c/a>assembled the show from SFMOMA’s huge (and exceptional) permanent collection and a donation from the Kurenboh Collection. The photos reveal multitudes about Japan and its conflicted relationship with the United States. Co-host \u003ca href=\"http://www.sfchronicle.com/art/article/Story-of-postwar-Japan-told-photos-both-bleak-and-10626480.php\" target=\"_blank\" rel=\"noopener\">David Wiegand reviewed the show\u003c/a>, and liked it so much, he went back to see it again. Details \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12382197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12382197 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg\" alt=\"'She Loves Me' at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, so good in 'Into the Woods' a few years ago\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘She Loves Me’ at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, who were marvelous in ‘Into the Woods’ a few years ago. \u003ccite>(Photo: Ken Levin/SF Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 30–Jan. 14\u003c/strong>: It all started with the play \u003cem>Parfumerie \u003c/em>by the Hungarian/American writer Miklos Laszlo, about two shopkeepers who hate each other in person but fall in love as anonymous correspondents. The play inspired movies; \u003cem>The Shop Around the Corner\u003c/em> (Jimmy Stewart and Margaret Sullavan), \u003cem>The Good Old Summertime\u003c/em> (Judy Garland), and \u003cem>You’ve Got Mail\u003c/em> (Tom Hanks and Meg Ryan) — and the terrific musical \u003cem>She Loves Me,\u003c/em> a big success on Broadway in 1963 which saw a revival last year. Its success is no surprise, considering the songs are by Sheldon Harnick and Jerry Bock, the team responsible for\u003cem> Fiddler on the Roof\u003c/em>. \u003cem>She Loves Me\u003c/em> is at San Francisco Playhouse, where Susi Damilano directs the wonderful Monique Hafen and Jeffrey Brian Adams as the tumultuous couple heading a huge cast. Details \u003ca href=\"https://sfplayhouse.org/sfph/2016-2017-season/she-loves-me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ai6mlTpYkzc\u003c/p>\n\u003cp>\u003cstrong>Nov. 30–Dec. 31\u003c/strong>: Here’s another musical with nothing but romance on its mind. \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> is restaging \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Daddy-Long-Legs_(novel)\" target=\"_blank\" rel=\"noopener\">Daddy Longlegs\u003c/a>\u003c/em> (2010), based on the same \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Webster\" target=\"_blank\" rel=\"noopener\">Jean Webster\u003c/a> novel that inspired the movie starring Fred Astaire and Leslie Caron. It’s set in suffragette-era New England, where a spirited orphan girl is sent to a fancy college by a mysterious benefactor. True love ensues. Co-stars Hilary Maiberger and Derek Carley sound terrific in the video above, singing songs by Paul Gordon (who wrote \u003cem>Emma\u003c/em>, another Theatreworks production). Escapism has never looked so inviting. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/daddy-long-legs2016\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=edqCPS7qwPM\u003c/p>\n\u003cp>\u003cstrong>Nov. 27, Dec. 9–10, Dec. 24\u003c/strong>: The \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus \u003c/a>always loves to get merry for the holidays. But this year, they’re also planning a \u003ca href=\"https://ww2.kqed.org/arts/2016/11/15/sf-gay-mens-chorus-responds-to-trump-election-with-red-state-tour/\" target=\"_blank\" rel=\"noopener\">“Building Bridges” tour of Southern states in 2018\u003c/a>, ahead of the mid-term elections, as a way to let other LGBTQ people know they’re not alone — and perhaps change some minds among people who voted for Donald Trump and Mike Pence. Those who find that a refreshing approach will want to join them for \u003cem>Home for the Holidays\u003c/em> at the Luther Burbank Center in Santa Rosa on Sunday. Details \u003ca href=\"http://tickets.lutherburbankcenter.org/single/eventDetail.aspx?p=2292\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Or catch their \u003cem>Babes in Joyland\u003c/em> show at San Francisco’s Nourse Theatre, on Dec. 9th and 10th, or a show at the Castro Theatre on Dec. 24th. Details for the San Francisco shows are \u003ca href=\"http://www.sfgmc.org/season-concerts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WeW2vHkXwVE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 25\u003c/strong>: \u003ca href=\"http://georgewatsky.com/\" target=\"_blank\" rel=\"noopener\">George Watsky \u003c/a>calls himself a typical “Bay Area Kid,” raised on a diet of Iraq War protests by open-hearted progressive parents in San Francisco. So naturally, this fast-rapping author, recording artist and graduate of \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Def_Poetry_Jam\" target=\"_blank\" rel=\"noopener\">Russell Simmons’ Def Poetry Jam\u003c/a> has felt obligated to talk about the election during his current tour. He told me he wrote “a science-fiction rap” about Donald Trump becoming President, never expecting it to come true. But now he’s trying not to wallow in depression as he plans his homecoming concert. “I’m going to acknowledge the political situation,” he said by phone, “but I also don’t want to spend the whole concert pandering to people who mostly share my views. I’m going to speak my mind, but I’m also going to play the concert, and not let the whole thing be consumed by that.” That’s a balance we all might seek to find in the next few months and years. Details for Watsky’s \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">Warfield \u003c/a>show are \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "KQEDs Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"status": "publish",
"parent": 0,
"modified": 1726787306,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 1084
},
"headData": {
"title": "Cy and David's Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap | KQED",
"description": "KQEDs Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: Celebrating Romance, Remembering Leonard Cohen, and a Sci-Fi Trump Rap",
"datePublished": "2016-11-24T17:00:44-08:00",
"dateModified": "2024-09-19T16:08:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12381231/cy-and-davids-picks-celebrating-romance-remembering-leonard-cohen-and-a-sci-fi-trump-rap",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\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/294337092″&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/294337092″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Here at the Do List, we are mourning the \u003ca href=\"https://ww2.kqed.org/arts/2016/11/18/sharon-jones-singer-and-soul-funk-bandleader-dies-at-60/\" target=\"_blank\" rel=\"noopener\">death of Sharon Jones \u003c/a>at just 60 years old. She brought such joy and power to her music. But we’re happy to have survived Thanksgiving family potlucks, and to point you to music and shows that will bring you joy. Try the \u003ca href=\"http://www.cafestritch.com/events/\" target=\"_blank\" rel=\"noopener\">Dynamic Miss Faye Carol singing the songs of Duke Ellington\u003c/a> at San Jose’s Cafe Stritch on Nov. 26, and \u003ca href=\"http://odcdance.org/performance.php?param=2\" target=\"_blank\" rel=\"noopener\">ODC’s 30th anniversary revival of \u003c/a>\u003cem>The Velveteen Rabbit, \u003c/em>about a stuffed rabbit that comes to life and dances beautifully, running Nov. 25–Dec. 11.\u003cem> \u003c/em>\u003c/p>\n\u003cp>And now for the main list.\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/VTK0Ah2EKAc'\n title='//www.youtube.com/embed/VTK0Ah2EKAc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 27\u003c/strong>: When the Nobel Prize Committee announced that a singer-songwriter was receiving the prize for literature, \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/leonard-cohen-hugely-influential-songwriter-and-author-dies-at-82/\" target=\"_blank\" rel=\"noopener\">Leonard Cohen \u003c/a>seemed as likely a choice as Bob Dylan. On Sunday, devoted Cohen fans will want to flock to a memorial show featuring the 30-member a cappella choir \u003ca href=\"http://conspiracyofbeards.com/\" target=\"_blank\" rel=\"noopener\">Conspiracy of Beards\u003c/a>, San Francisco’s\u003ca href=\"http://chuckprophet.com/\" target=\"_blank\" rel=\"noopener\"> Chuck Prophet\u003c/a>, Cohen biographer and singer \u003ca href=\"http://sylviesimmons.com/\" target=\"_blank\" rel=\"noopener\">Sylvie Simmons\u003c/a>, singer-songwriter Mark Kozelek, Sarah Bethe Nelson, Christopher Owens and others. My favorite songs: “Suzanne,” because I loved both Cohen’s version and the Judy Collins’ cover in college, and “Everybody Knows,” which is one reason I never play craps. Details for \u003cem>Songs of Love and Hate: A Tribute to Leonard Cohen\u003c/em> at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1387002-songs-love-hate-san-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12382395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12382395\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg\" alt=\"Tsunehisa Kimura's work is part of the show 'Japanese Photography from Postwar to Now' at SFMOMA\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-960x666.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795-520x361.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Japanese-Photography-From-Postwar-to-Now-e1479861588795.jpg 1791w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tsunehisa Kimura’s work is part of the show ‘Japanese Photography from Postwar to Now’ at SFMOMA. \u003ccite>(Photo: Courtesy of Tsunehisa Kimura)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12:\u003c/strong> \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">\u003cem>Japanese Photography from Postwar to Now\u003c/em>\u003c/a> has just opened at SFMOMA with images that cover the period from the end of World War II, after the US dropped an atomic bomb on Hiroshima, to the nuclear plant disaster in Fukushima. \u003ca href=\"http://www.sfgate.com/news/article/SFMOMA-photography-curator-Sandra-Phillips-7243926.php\" target=\"_blank\" rel=\"noopener\">Curator Emeritus Sandra Phillips \u003c/a>assembled the show from SFMOMA’s huge (and exceptional) permanent collection and a donation from the Kurenboh Collection. The photos reveal multitudes about Japan and its conflicted relationship with the United States. Co-host \u003ca href=\"http://www.sfchronicle.com/art/article/Story-of-postwar-Japan-told-photos-both-bleak-and-10626480.php\" target=\"_blank\" rel=\"noopener\">David Wiegand reviewed the show\u003c/a>, and liked it so much, he went back to see it again. Details \u003ca href=\"https://www.sfmoma.org/exhibition/japanese-photography-postwar-now/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12382197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12382197 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg\" alt=\"'She Loves Me' at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, so good in 'Into the Woods' a few years ago\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/She-Loves-Me-Photos-by-Ken-Levin-Jeffrey-Brian-Adams-and-Monique-Hafen-e1479857111750.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘She Loves Me’ at San Francisco Playhouse features Monique Hafen and Jeffrey Brian Adams, who were marvelous in ‘Into the Woods’ a few years ago. \u003ccite>(Photo: Ken Levin/SF Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 30–Jan. 14\u003c/strong>: It all started with the play \u003cem>Parfumerie \u003c/em>by the Hungarian/American writer Miklos Laszlo, about two shopkeepers who hate each other in person but fall in love as anonymous correspondents. The play inspired movies; \u003cem>The Shop Around the Corner\u003c/em> (Jimmy Stewart and Margaret Sullavan), \u003cem>The Good Old Summertime\u003c/em> (Judy Garland), and \u003cem>You’ve Got Mail\u003c/em> (Tom Hanks and Meg Ryan) — and the terrific musical \u003cem>She Loves Me,\u003c/em> a big success on Broadway in 1963 which saw a revival last year. Its success is no surprise, considering the songs are by Sheldon Harnick and Jerry Bock, the team responsible for\u003cem> Fiddler on the Roof\u003c/em>. \u003cem>She Loves Me\u003c/em> is at San Francisco Playhouse, where Susi Damilano directs the wonderful Monique Hafen and Jeffrey Brian Adams as the tumultuous couple heading a huge cast. Details \u003ca href=\"https://sfplayhouse.org/sfph/2016-2017-season/she-loves-me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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/ai6mlTpYkzc'\n title='//www.youtube.com/embed/ai6mlTpYkzc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 30–Dec. 31\u003c/strong>: Here’s another musical with nothing but romance on its mind. \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> is restaging \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Daddy-Long-Legs_(novel)\" target=\"_blank\" rel=\"noopener\">Daddy Longlegs\u003c/a>\u003c/em> (2010), based on the same \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Webster\" target=\"_blank\" rel=\"noopener\">Jean Webster\u003c/a> novel that inspired the movie starring Fred Astaire and Leslie Caron. It’s set in suffragette-era New England, where a spirited orphan girl is sent to a fancy college by a mysterious benefactor. True love ensues. Co-stars Hilary Maiberger and Derek Carley sound terrific in the video above, singing songs by Paul Gordon (who wrote \u003cem>Emma\u003c/em>, another Theatreworks production). Escapism has never looked so inviting. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/daddy-long-legs2016\" 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/edqCPS7qwPM'\n title='//www.youtube.com/embed/edqCPS7qwPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 27, Dec. 9–10, Dec. 24\u003c/strong>: The \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus \u003c/a>always loves to get merry for the holidays. But this year, they’re also planning a \u003ca href=\"https://ww2.kqed.org/arts/2016/11/15/sf-gay-mens-chorus-responds-to-trump-election-with-red-state-tour/\" target=\"_blank\" rel=\"noopener\">“Building Bridges” tour of Southern states in 2018\u003c/a>, ahead of the mid-term elections, as a way to let other LGBTQ people know they’re not alone — and perhaps change some minds among people who voted for Donald Trump and Mike Pence. Those who find that a refreshing approach will want to join them for \u003cem>Home for the Holidays\u003c/em> at the Luther Burbank Center in Santa Rosa on Sunday. Details \u003ca href=\"http://tickets.lutherburbankcenter.org/single/eventDetail.aspx?p=2292\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Or catch their \u003cem>Babes in Joyland\u003c/em> show at San Francisco’s Nourse Theatre, on Dec. 9th and 10th, or a show at the Castro Theatre on Dec. 24th. Details for the San Francisco shows are \u003ca href=\"http://www.sfgmc.org/season-concerts/\" 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/WeW2vHkXwVE'\n title='//www.youtube.com/embed/WeW2vHkXwVE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 25\u003c/strong>: \u003ca href=\"http://georgewatsky.com/\" target=\"_blank\" rel=\"noopener\">George Watsky \u003c/a>calls himself a typical “Bay Area Kid,” raised on a diet of Iraq War protests by open-hearted progressive parents in San Francisco. So naturally, this fast-rapping author, recording artist and graduate of \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Def_Poetry_Jam\" target=\"_blank\" rel=\"noopener\">Russell Simmons’ Def Poetry Jam\u003c/a> has felt obligated to talk about the election during his current tour. He told me he wrote “a science-fiction rap” about Donald Trump becoming President, never expecting it to come true. But now he’s trying not to wallow in depression as he plans his homecoming concert. “I’m going to acknowledge the political situation,” he said by phone, “but I also don’t want to spend the whole concert pandering to people who mostly share my views. I’m going to speak my mind, but I’m also going to play the concert, and not let the whole thing be consumed by that.” That’s a balance we all might seek to find in the next few months and years. Details for Watsky’s \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">Warfield \u003c/a>show are \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/312110\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12381231/cy-and-davids-picks-celebrating-romance-remembering-leonard-cohen-and-a-sci-fi-trump-rap",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_69",
"arts_235",
"arts_75",
"arts_967",
"arts_70"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_12381802",
"label": "arts_140"
},
"arts_12385793": {
"type": "posts",
"id": "arts_12385793",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12385793",
"score": null,
"sort": [
1479929297000
]
},
"guestAuthors": [],
"slug": "theater-cancels-musical-about-imelda-marcos-in-san-francisco",
"title": "Theater Cancels Musical about Imelda Marcos in San Francisco",
"publishDate": 1479929297,
"format": "standard",
"headTitle": "Theater Cancels Musical about Imelda Marcos in San Francisco | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>There’s disappointing news for Bay Area fans of David Byrne and musicals. \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">The American Conservatory Theater \u003c/a>(ACT) has cancelled plans to stage \u003ca href=\"https://en.wikipedia.org/wiki/Here_Lies_Love\" target=\"_blank\" rel=\"noopener\">\u003cem>Here Lies Love\u003c/em>\u003c/a>, the musical about Imelda and Ferdinand Marcos by \u003ca href=\"https://www.facebook.com/DBtodomundo/\" target=\"_blank\" rel=\"noopener\">Byrne\u003c/a> and \u003ca href=\"http://www.fatboyslim.net/\" target=\"_blank\" rel=\"noopener\">Fatboy Slim.\u003c/a>\u003c/p>\n\u003cp>The show played to \u003ca href=\"http://www.nytimes.com/2013/04/24/theater/reviews/david-byrnes-here-lies-love-at-the-public-theater.html\" target=\"_blank\" rel=\"noopener\">good reviews in\u003c/a> 2013 and 2014 at the \u003ca href=\"http://www.publictheater.org/\" target=\"_blank\" rel=\"noopener\">Public Theater \u003c/a>in New York City and then in London, but ACT’s director says producing the show would be too expensive.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aYm5Gs3TCtY\u003c/p>\n\u003cp>“Everybody here wanted to do it,” said ACT’s Interim Executive Director Peter Pastreich in a phone interview Wednesday morning. “But we were looking at a loss of between $800,000 and $1 million.”\u003c/p>\n\u003cp>The production would have cost about $2.5 million, Pastreich said, and though the company had hoped to raise an extra $250,000 in “special giving” to offset production costs, “we did not find patrons in the community,” Pastreich said, “who thought this was of sufficient interest, above and beyond normal fundraising.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pastreich said the show is so expensive to stage because it calls for audiences to stand, mingle, and dance with performers during the show, and that would have required covering all the seats in the company’s historic Geary Theater and building a new stage. The company also considered alternative venues like the Armory in San Francisco, but those plans fell through.\u003c/p>\n\u003cfigure id=\"attachment_12385795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12385795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-800x571.jpg\" alt=\"ACTs Interim Executive Director Peter Pastreich\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1920x1369.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1180x842.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-960x685.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ACTs Interim Executive Director Peter Pastreich \u003ccite>(Photo: Courtesy Courtesy of American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had two people in New York for two weeks negotiating details for the production,” Pastreich said. “We’re not critical of them at all, and we feel awful we couldn’t make it work.”\u003c/p>\n\u003cp>Instead of \u003cem>Here Lies Love\u003c/em>, ACT announced Tuesday they’ll produce a \u003ca href=\"http://anightwithjanisjoplin.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Night with Janis Joplin\u003c/em>\u003c/a> as a tribute to the 50th anniversary of the \u003ca href=\"http://50thsummeroflove.com/\" target=\"_blank\" rel=\"noopener\">Summer of Love \u003c/a>in San Francisco. The show had a record-breaking run at the now-defunct San Jose Repertory Theater in 2013.\u003c/p>\n\u003cp>“What better moment to celebrate the power of love and the uniqueness of the Bay Area,” ACT Artistic Director Carey Perloff said in a statement, “than by rocking out to the incredible music of Janis Joplin and the women who influenced her!”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.seattlerep.org/Plays/1617/HL/Synopsis\" target=\"_blank\" rel=\"noopener\">Seattle Repertory Theater \u003c/a>had worked with ACT on bringing \u003cem>Here Lies Love\u003c/em> to the West Coast, and that company emailed to say they’re going ahead with the production which opens in April 2017.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are certainly sorry to be losing the co-producing partnership of \u003cem>Here Lies Love\u003c/em> with A.C.T.,” wrote Seattle Rep Communication Director Michelle Leyva, “This news does not affect the amazing work we have already done and will continue to do for this show.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "High costs force American Conservatory Theater to cancel David Byrne musical about Imelda Marcos. ",
"status": "publish",
"parent": 0,
"modified": 1726708779,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 479
},
"headData": {
"title": "Theater Cancels Musical about Imelda Marcos in San Francisco | KQED",
"description": "High costs force American Conservatory Theater to cancel David Byrne musical about Imelda Marcos. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Theater Cancels Musical about Imelda Marcos in San Francisco",
"datePublished": "2016-11-23T11:28:17-08:00",
"dateModified": "2024-09-18T18:19:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12385793/theater-cancels-musical-about-imelda-marcos-in-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s disappointing news for Bay Area fans of David Byrne and musicals. \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">The American Conservatory Theater \u003c/a>(ACT) has cancelled plans to stage \u003ca href=\"https://en.wikipedia.org/wiki/Here_Lies_Love\" target=\"_blank\" rel=\"noopener\">\u003cem>Here Lies Love\u003c/em>\u003c/a>, the musical about Imelda and Ferdinand Marcos by \u003ca href=\"https://www.facebook.com/DBtodomundo/\" target=\"_blank\" rel=\"noopener\">Byrne\u003c/a> and \u003ca href=\"http://www.fatboyslim.net/\" target=\"_blank\" rel=\"noopener\">Fatboy Slim.\u003c/a>\u003c/p>\n\u003cp>The show played to \u003ca href=\"http://www.nytimes.com/2013/04/24/theater/reviews/david-byrnes-here-lies-love-at-the-public-theater.html\" target=\"_blank\" rel=\"noopener\">good reviews in\u003c/a> 2013 and 2014 at the \u003ca href=\"http://www.publictheater.org/\" target=\"_blank\" rel=\"noopener\">Public Theater \u003c/a>in New York City and then in London, but ACT’s director says producing the show would be too expensive.\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/aYm5Gs3TCtY'\n title='//www.youtube.com/embed/aYm5Gs3TCtY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Everybody here wanted to do it,” said ACT’s Interim Executive Director Peter Pastreich in a phone interview Wednesday morning. “But we were looking at a loss of between $800,000 and $1 million.”\u003c/p>\n\u003cp>The production would have cost about $2.5 million, Pastreich said, and though the company had hoped to raise an extra $250,000 in “special giving” to offset production costs, “we did not find patrons in the community,” Pastreich said, “who thought this was of sufficient interest, above and beyond normal fundraising.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pastreich said the show is so expensive to stage because it calls for audiences to stand, mingle, and dance with performers during the show, and that would have required covering all the seats in the company’s historic Geary Theater and building a new stage. The company also considered alternative venues like the Armory in San Francisco, but those plans fell through.\u003c/p>\n\u003cfigure id=\"attachment_12385795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12385795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-800x571.jpg\" alt=\"ACTs Interim Executive Director Peter Pastreich\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1920x1369.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-1180x842.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-960x685.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Peter-Pastreich_ACT-e1479927349693-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ACTs Interim Executive Director Peter Pastreich \u003ccite>(Photo: Courtesy Courtesy of American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had two people in New York for two weeks negotiating details for the production,” Pastreich said. “We’re not critical of them at all, and we feel awful we couldn’t make it work.”\u003c/p>\n\u003cp>Instead of \u003cem>Here Lies Love\u003c/em>, ACT announced Tuesday they’ll produce a \u003ca href=\"http://anightwithjanisjoplin.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Night with Janis Joplin\u003c/em>\u003c/a> as a tribute to the 50th anniversary of the \u003ca href=\"http://50thsummeroflove.com/\" target=\"_blank\" rel=\"noopener\">Summer of Love \u003c/a>in San Francisco. The show had a record-breaking run at the now-defunct San Jose Repertory Theater in 2013.\u003c/p>\n\u003cp>“What better moment to celebrate the power of love and the uniqueness of the Bay Area,” ACT Artistic Director Carey Perloff said in a statement, “than by rocking out to the incredible music of Janis Joplin and the women who influenced her!”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.seattlerep.org/Plays/1617/HL/Synopsis\" target=\"_blank\" rel=\"noopener\">Seattle Repertory Theater \u003c/a>had worked with ACT on bringing \u003cem>Here Lies Love\u003c/em> to the West Coast, and that company emailed to say they’re going ahead with the production which opens in April 2017.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are certainly sorry to be losing the co-producing partnership of \u003cem>Here Lies Love\u003c/em> with A.C.T.,” wrote Seattle Rep Communication Director Michelle Leyva, “This news does not affect the amazing work we have already done and will continue to do for this show.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12385793/theater-cancels-musical-about-imelda-marcos-in-san-francisco",
"authors": [
"32"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_596"
],
"featImg": "arts_12385794",
"label": "arts"
},
"arts_12368326": {
"type": "posts",
"id": "arts_12368326",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12368326",
"score": null,
"sort": [
1479595219000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1479595219,
"format": "standard",
"title": "Counterpoint: The Theater Should Not Be a Safe Place",
"headTitle": "Counterpoint: The Theater Should Not Be a Safe Place | KQED",
"content": "\u003cp>The chatter today is that Vice President–Elect Mike Pence went to see \u003cem>Hamilton\u003c/em>, was \u003ca href=\"https://www.youtube.com/watch?v=0v4AjvIRGjA\" target=\"_blank\" rel=\"noopener\">booed by some audience members\u003c/a> upon arrival, and was addressed by the cast afterward in what most people would describe as a respectful reminder of core American values:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aWlwrUFiuUw\u003c/p>\n\u003cp>Already \u003ca href=\"https://www.buzzfeed.com/juliareinstein/trump-hamilton-twitter-feud?utm_term=.ib9lR6r21#.wr0V4yAxg\" target=\"_blank\" rel=\"noopener\">many are saying\u003c/a> that Pence’s sure-to-make-headlines attendance at \u003cem>Hamilton\u003c/em> was planned as a distraction from Donald Trump’s $25 million settlement in a fraud trial brought by some 6,000 former students of Trump University. (If so, \u003ca href=\"https://twitter.com/asabenn/status/800021782665318404\" target=\"_blank\" rel=\"noopener\">it worked\u003c/a>.) But this is an arts blog and not a politics blog, which is why we’ll focus here on Trump’s response:\u003c/p>\n\u003cp>https://twitter.com/realDonaldTrump/status/799974635274194947\u003c/p>\n\u003cp>I am not an expert on the theater. I have only been to dozens, not hundreds, of plays. But I can say this:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The theater should not be a safe place.\u003c/p>\n\u003cp>I’ll say it again: the theater should not be a safe place. The theater should challenge, upset, discomfort, call out, and upend. The theater is exactly the space where a politician who \u003ca href=\"http://www.ontheissues.org/IN/Mike_Pence.htm\" target=\"_blank\" rel=\"noopener\">twice voted to ban gay marriage\u003c/a> should have his ideas addressed at a production where the \u003ca href=\"http://www.nytimes.com/2016/07/11/theater/a-word-with-javier-munoz-the-new-hamilton-on-broadway.html\" target=\"_blank\" rel=\"noopener\">lead actor\u003c/a> is an openly gay and HIV+ man. Where the man soon to be serving in an administration that has called for a \u003ca href=\"http://www.nytimes.com/politics/first-draft/2015/11/20/donald-trump-says-hed-absolutely-require-muslims-to-register/\" target=\"_blank\" rel=\"noopener\">Muslim registry\u003c/a> and the \u003ca href=\"http://www.cbsnews.com/news/60-minutes-donald-trump-wall-mexican-border-fence-segments/\" target=\"_blank\" rel=\"noopener\">building of a wall\u003c/a> should be advised, \u003ca href=\"https://www.youtube.com/watch?v=GMp6WHWJHf4\" target=\"_blank\" rel=\"noopener\">from the stage\u003c/a>, that “We, sir, are the diverse America who are alarmed and anxious that your new administration will not protect us.”\u003c/p>\n\u003cp>If the theater does not do this, the theater fails. If art as a whole does not do this, art fails.\u003c/p>\n\u003cp>The theater is at its worst when it is reflecting our own comforts back to us. (I can think of \u003ca href=\"http://www.tulsaworld.com/archives/give-em-tunes-they-love-already/article_0ec286eb-dcd9-5f1c-a251-3eb3d8e11fa4.html\" target=\"_blank\" rel=\"noopener\">a few examples\u003c/a>.) If we go to the theatre to feel safe, or to see our own preferences and beliefs on the stage, we are experiencing coddling. Not art.\u003c/p>\n\u003cp>Let the address from the cast of \u003cem>Hamilton\u003c/em> be the guide for every theater in America for the next four years.\u003c/p>\n\u003cp>This has been your counterpoint.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 366,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705032436,
"excerpt": "The President-Elect's comments about the cast of 'Hamilton' strike an ominous tone for the arts.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The President-Elect's comments about the cast of 'Hamilton' strike an ominous tone for the arts.",
"title": "Counterpoint: The Theater Should Not Be a Safe Place | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Counterpoint: The Theater Should Not Be a Safe Place",
"datePublished": "2016-11-19T14:40:19-08:00",
"dateModified": "2024-01-11T20:07:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "counterpoint-the-theater-should-not-be-a-safe-place",
"status": "publish",
"sticky": false,
"path": "/arts/12368326/counterpoint-the-theater-should-not-be-a-safe-place",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The chatter today is that Vice President–Elect Mike Pence went to see \u003cem>Hamilton\u003c/em>, was \u003ca href=\"https://www.youtube.com/watch?v=0v4AjvIRGjA\" target=\"_blank\" rel=\"noopener\">booed by some audience members\u003c/a> upon arrival, and was addressed by the cast afterward in what most people would describe as a respectful reminder of core American values:\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/aWlwrUFiuUw'\n title='//www.youtube.com/embed/aWlwrUFiuUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Already \u003ca href=\"https://www.buzzfeed.com/juliareinstein/trump-hamilton-twitter-feud?utm_term=.ib9lR6r21#.wr0V4yAxg\" target=\"_blank\" rel=\"noopener\">many are saying\u003c/a> that Pence’s sure-to-make-headlines attendance at \u003cem>Hamilton\u003c/em> was planned as a distraction from Donald Trump’s $25 million settlement in a fraud trial brought by some 6,000 former students of Trump University. (If so, \u003ca href=\"https://twitter.com/asabenn/status/800021782665318404\" target=\"_blank\" rel=\"noopener\">it worked\u003c/a>.) But this is an arts blog and not a politics blog, which is why we’ll focus here on Trump’s response:\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "799974635274194947"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I am not an expert on the theater. I have only been to dozens, not hundreds, of plays. But I can say this:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The theater should not be a safe place.\u003c/p>\n\u003cp>I’ll say it again: the theater should not be a safe place. The theater should challenge, upset, discomfort, call out, and upend. The theater is exactly the space where a politician who \u003ca href=\"http://www.ontheissues.org/IN/Mike_Pence.htm\" target=\"_blank\" rel=\"noopener\">twice voted to ban gay marriage\u003c/a> should have his ideas addressed at a production where the \u003ca href=\"http://www.nytimes.com/2016/07/11/theater/a-word-with-javier-munoz-the-new-hamilton-on-broadway.html\" target=\"_blank\" rel=\"noopener\">lead actor\u003c/a> is an openly gay and HIV+ man. Where the man soon to be serving in an administration that has called for a \u003ca href=\"http://www.nytimes.com/politics/first-draft/2015/11/20/donald-trump-says-hed-absolutely-require-muslims-to-register/\" target=\"_blank\" rel=\"noopener\">Muslim registry\u003c/a> and the \u003ca href=\"http://www.cbsnews.com/news/60-minutes-donald-trump-wall-mexican-border-fence-segments/\" target=\"_blank\" rel=\"noopener\">building of a wall\u003c/a> should be advised, \u003ca href=\"https://www.youtube.com/watch?v=GMp6WHWJHf4\" target=\"_blank\" rel=\"noopener\">from the stage\u003c/a>, that “We, sir, are the diverse America who are alarmed and anxious that your new administration will not protect us.”\u003c/p>\n\u003cp>If the theater does not do this, the theater fails. If art as a whole does not do this, art fails.\u003c/p>\n\u003cp>The theater is at its worst when it is reflecting our own comforts back to us. (I can think of \u003ca href=\"http://www.tulsaworld.com/archives/give-em-tunes-they-love-already/article_0ec286eb-dcd9-5f1c-a251-3eb3d8e11fa4.html\" target=\"_blank\" rel=\"noopener\">a few examples\u003c/a>.) If we go to the theatre to feel safe, or to see our own preferences and beliefs on the stage, we are experiencing coddling. Not art.\u003c/p>\n\u003cp>Let the address from the cast of \u003cem>Hamilton\u003c/em> be the guide for every theater in America for the next four years.\u003c/p>\n\u003cp>This has been your counterpoint.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12368326/counterpoint-the-theater-should-not-be-a-safe-place",
"authors": [
"185"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_12368330",
"label": "arts"
},
"arts_12358960": {
"type": "posts",
"id": "arts_12358960",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12358960",
"score": null,
"sort": [
1479430836000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-a-well-stuffed-show-with-a-communal-orchestra-dream-pop-and-the-politics-of-soccer",
"title": "Cy and David's Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer",
"publishDate": 1479430836,
"format": "standard",
"headTitle": "Cy and David’s Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/293554649″ 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>We’re always left with a few great items that don’t make the main list. Jazz pianist Larry Vuckovich is celebrating his 80th birthday, fingers still flying on the keyboards, on Sunday, Nov. 20, at the \u003ca href=\"http://www.bachddsoc.org/calendar.html#Larry-Vuckovich\" target=\"_blank\" rel=\"noopener\">Bach Dancing and Dynamite Society\u003c/a> in Half Moon Bay and Sunday, Dec. 4, at \u003ca href=\"http://piedmontpiano.com/concerts/161204larryvuckovich80bday.html\" target=\"_blank\" rel=\"noopener\">Piedmont Piano\u003c/a> in Oakland. Opera Parallele presents \u003cem>Xochitl and the Flowers\u003c/em>, a kid’s opera with children performers, for free \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">on Sunday, Nov. 20\u003c/a>. And Classical Revolution, the San Francisco group that pioneered classical music in bars and clubs around the country, celebrates its 10th anniversary with a \u003ca href=\"http://classicalrevolution.org\" target=\"_blank\" rel=\"noopener\">free performance of Beethoven’s Ninth Symphony\u003c/a> at Grace Cathedral. Now the best of the rest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_IkLUOsNHAA\u003c/p>\n\u003cp>\u003cstrong>Nov. 22 and 23\u003c/strong>: The \u003ca href=\"https://www.berliner-philharmoniker.de/en/\" target=\"_blank\" rel=\"noopener\">Berlin Philharmonic\u003c/a> is one of the world’s great orchestras, and unique in that the musicians pick their own conductor. And this is a goodbye tour for their current choice, the great Simon Rattle, who is stepping down at the end of 2017. They’re bringing a challenging program: Webern, Boulez, Berg and Schoenberg, sweetened with Brahms and Mahler. But trust them, this tightly knit orchestra can make sense out of music that baffles lesser musicians. Details for their Davies Hall concerts Nov. 22nd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-22.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and on Nov. 23rd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-23.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12359544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12359544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg\" alt=\"Khary Moye and Margo Hall. star in Word for Word's production of All 'Aunt Hagar's Children' at Z Space\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1920x1210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Margo Hall. star in Word for Word’s production of ‘All Aunt Hagar’s Children’ at Z Space \u003ccite>(Photo: Mel Solomon/Word for Word)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 17–Dec. 11\u003c/strong>: Edward P. Jones’ “All Aunt Hagar’s Children” is a terrific noir short story (first published \u003ca href=\"http://www.newyorker.com/magazine/2003/12/22/all-aunt-hagars-children\" target=\"_blank\" rel=\"noopener\">in the \u003cem>New Yorker\u003c/em>\u003c/a> in 2003) about a Korean War veteran, an African American, who tries to solve the murder of a cousin and finds out more than he wanted to about his family. Now, \u003ca href=\"https://ww2.kqed.org/spark/word-for-word/\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — the San Francisco company where the actors transform short stories into great drama — performs Jones’ story, in which the nameless hero also deals with class and race issues. You know you’re in good hands with Margo Hall (co-directing), Velina Brown, and Edris Cooper-Anifowoshe in the cast. And there’s a \u003ca href=\"http://www.zspace.org/gala2016\" target=\"_blank\" rel=\"noopener\">special performance\u003c/a> with Edward P. Jones in conversation with journalist Belva Davis on Dec. 1. Details for the Word for Word production at Z Space are\u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iaIUysAS7hs\u003c/p>\n\u003cp>\u003cstrong>Nov. 20 and Dec 4:\u003c/strong> Klezmer music always makes me think of weddings and good parties. This relic of shtetl culture was in danger of dying out in the 20th century, along with \u003ca href=\"http://www.yiddishbookcenter.org/\" target=\"_blank\" rel=\"noopener\">Yiddish\u003c/a>, but groups like \u003ca href=\"http://www.klezcalifornia.org/home\" target=\"_blank\" rel=\"noopener\">KlezCalifornia\u003c/a>, both an organization and an annual festival, have helped revive the music and the language. The festival is a pair of concerts and workshops, featuring comedy, Yiddish songs, storytelling, and yes, you’ll probably have to dance in a big circle at some point. It’s also a chance to see my favorite Jewish lesbian comedian juggler Sara Felder — a true shayna punim. Details for the concerts on Sunday, Nov. 20, at the Osher Marin JCC in San Rafael, and Sunday, Dec. 4, at the JCC East Bay in Berkeley are \u003ca href=\"http://www.klezcalifornia.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F1jiulKLsJY\u003c/p>\n\u003cp>\u003cstrong>Ongoing\u003c/strong>: We’re celebrating a new museum on the outskirts of the Bay Area — UC Davis’ new Minetti Shrem Museum. For the opening, they’ve tapped a great legacy of work by UC Davis faculty, including some revolutionary figures who taught there in the Art Department’s early years like Wayne Thiebaud, Robert Arneson, William T. Wiley, Manuel Neri, Ruth Horsting, and Jane Garritson. The show \u003cem>Out Our Way \u003c/em>featuring their work is on view through March 26. I’m also fascinated by \u003cem>Hoof and Foot\u003c/em>, a giant video piece by Bay Area artist Chris Sollars, about the comparisons in how animals and students learn. (UC Davis also has a top veterinary school.) Details for exhibits at the Minetti Shrem Museum, which is always free, are\u003ca href=\"http://manettishremmuseum.ucdavis.edu/visit/exhibitions.html\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/189379134\u003c/p>\n\u003cp>\u003cstrong>Nov 18–20\u003c/strong>: \u003ca href=\"http://www.bamuthi.com/#!slide-5\" target=\"_blank\" rel=\"noopener\">Marc Bamuthi Joseph\u003c/a> is a Bay Area treasure — \u003ca href=\"https://www.ybca.org/staff/marc-bamuthi-joseph\" target=\"_blank\" rel=\"noopener\">Chief of Program and Pedagogy\u003c/a> at the Yerba Buena Center for the Arts, and a terrific choreographer, dancer and poet. He’s got a new piece called \u003cem>\u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" target=\"_blank\" rel=\"noopener\">/peh-LO-tah/ — a futbol framed freedom suite\u003c/a>\u003c/em>, about soccer as a sport of joy for kids, but also the place where the Third World meets the First World in a haze of corruption. “Soccer is an extended metaphor,” Bamuthi told me before starting a day of rehearsals. “Moving without the ball is an immigrant story. Being focused on your goal, without being in possession, that’s an immigrant story. So the piece is deeply emotional, but also deeply political in its scope and ambition.” If that sounds too analytical, go anyway. Bamuthi’s dance/plays are always as moving as they are thoughtful. Details for /peh-LO-tah/ at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bSOl7yp5QwA\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18\u003c/strong>: Jay Som is the stage name for the multi-talented dream-pop singer and songwriter Melinda Duterte. She grew up in Brentwood and recently moved to San Francisco, so it’s heartening to find we haven’t gentrified everyone out of town yet. Duterte \u003ca href=\"https://ww2.kqed.org/arts/2016/07/25/jay-som-and-the-transformation-of-turn-into/\" target=\"_blank\" rel=\"noopener\">just reissued\u003c/a> her Bandcamp debut \u003cem>Turn Into\u003c/em>, plus she’s got her first music video out (see above). This is handcrafted music, mostly recorded at her home, and wonderfully spooky in the way it mixes memory and heartache. One review called her songs “gorgeous tearjerkers,” and I couldn’t agree more. Details for her show at the Brick & Mortar Music Hall are \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6937935&pl=brickmortar&REFID=brickmortar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including Marc Bamuthi Joseph's new play, the Berlin Philharmonic, the new Manetti Shrem museum and more.",
"status": "publish",
"parent": 0,
"modified": 1726787319,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 1052
},
"headData": {
"title": "Cy and David's Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer | KQED",
"description": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including Marc Bamuthi Joseph's new play, the Berlin Philharmonic, the new Manetti Shrem museum and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: A Well-Stuffed Show With A Communal Orchestra, Dream Pop, and the Politics of Soccer",
"datePublished": "2016-11-17T17:00:36-08:00",
"dateModified": "2024-09-19T16:08:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12358960/cy-and-davids-picks-a-well-stuffed-show-with-a-communal-orchestra-dream-pop-and-the-politics-of-soccer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\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/293554649″&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/293554649″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We’re always left with a few great items that don’t make the main list. Jazz pianist Larry Vuckovich is celebrating his 80th birthday, fingers still flying on the keyboards, on Sunday, Nov. 20, at the \u003ca href=\"http://www.bachddsoc.org/calendar.html#Larry-Vuckovich\" target=\"_blank\" rel=\"noopener\">Bach Dancing and Dynamite Society\u003c/a> in Half Moon Bay and Sunday, Dec. 4, at \u003ca href=\"http://piedmontpiano.com/concerts/161204larryvuckovich80bday.html\" target=\"_blank\" rel=\"noopener\">Piedmont Piano\u003c/a> in Oakland. Opera Parallele presents \u003cem>Xochitl and the Flowers\u003c/em>, a kid’s opera with children performers, for free \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">on Sunday, Nov. 20\u003c/a>. And Classical Revolution, the San Francisco group that pioneered classical music in bars and clubs around the country, celebrates its 10th anniversary with a \u003ca href=\"http://classicalrevolution.org\" target=\"_blank\" rel=\"noopener\">free performance of Beethoven’s Ninth Symphony\u003c/a> at Grace Cathedral. Now the best of the rest.\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/_IkLUOsNHAA'\n title='//www.youtube.com/embed/_IkLUOsNHAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 22 and 23\u003c/strong>: The \u003ca href=\"https://www.berliner-philharmoniker.de/en/\" target=\"_blank\" rel=\"noopener\">Berlin Philharmonic\u003c/a> is one of the world’s great orchestras, and unique in that the musicians pick their own conductor. And this is a goodbye tour for their current choice, the great Simon Rattle, who is stepping down at the end of 2017. They’re bringing a challenging program: Webern, Boulez, Berg and Schoenberg, sweetened with Brahms and Mahler. But trust them, this tightly knit orchestra can make sense out of music that baffles lesser musicians. Details for their Davies Hall concerts Nov. 22nd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-22.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and on Nov. 23rd are \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Berliner-Philharmoniker-Simon-Rattle-Nov-23.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12359544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12359544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg\" alt=\"Khary Moye and Margo Hall. star in Word for Word's production of All 'Aunt Hagar's Children' at Z Space\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1920x1210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/W4W-COLOR-Aunt-Hagar-No.-5-Low-Res-2.2M_1400668-e1479423544783.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Margo Hall. star in Word for Word’s production of ‘All Aunt Hagar’s Children’ at Z Space \u003ccite>(Photo: Mel Solomon/Word for Word)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 17–Dec. 11\u003c/strong>: Edward P. Jones’ “All Aunt Hagar’s Children” is a terrific noir short story (first published \u003ca href=\"http://www.newyorker.com/magazine/2003/12/22/all-aunt-hagars-children\" target=\"_blank\" rel=\"noopener\">in the \u003cem>New Yorker\u003c/em>\u003c/a> in 2003) about a Korean War veteran, an African American, who tries to solve the murder of a cousin and finds out more than he wanted to about his family. Now, \u003ca href=\"https://ww2.kqed.org/spark/word-for-word/\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — the San Francisco company where the actors transform short stories into great drama — performs Jones’ story, in which the nameless hero also deals with class and race issues. You know you’re in good hands with Margo Hall (co-directing), Velina Brown, and Edris Cooper-Anifowoshe in the cast. And there’s a \u003ca href=\"http://www.zspace.org/gala2016\" target=\"_blank\" rel=\"noopener\">special performance\u003c/a> with Edward P. Jones in conversation with journalist Belva Davis on Dec. 1. Details for the Word for Word production at Z Space are\u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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/iaIUysAS7hs'\n title='//www.youtube.com/embed/iaIUysAS7hs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 20 and Dec 4:\u003c/strong> Klezmer music always makes me think of weddings and good parties. This relic of shtetl culture was in danger of dying out in the 20th century, along with \u003ca href=\"http://www.yiddishbookcenter.org/\" target=\"_blank\" rel=\"noopener\">Yiddish\u003c/a>, but groups like \u003ca href=\"http://www.klezcalifornia.org/home\" target=\"_blank\" rel=\"noopener\">KlezCalifornia\u003c/a>, both an organization and an annual festival, have helped revive the music and the language. The festival is a pair of concerts and workshops, featuring comedy, Yiddish songs, storytelling, and yes, you’ll probably have to dance in a big circle at some point. It’s also a chance to see my favorite Jewish lesbian comedian juggler Sara Felder — a true shayna punim. Details for the concerts on Sunday, Nov. 20, at the Osher Marin JCC in San Rafael, and Sunday, Dec. 4, at the JCC East Bay in Berkeley are \u003ca href=\"http://www.klezcalifornia.org/\" 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/F1jiulKLsJY'\n title='//www.youtube.com/embed/F1jiulKLsJY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Ongoing\u003c/strong>: We’re celebrating a new museum on the outskirts of the Bay Area — UC Davis’ new Minetti Shrem Museum. For the opening, they’ve tapped a great legacy of work by UC Davis faculty, including some revolutionary figures who taught there in the Art Department’s early years like Wayne Thiebaud, Robert Arneson, William T. Wiley, Manuel Neri, Ruth Horsting, and Jane Garritson. The show \u003cem>Out Our Way \u003c/em>featuring their work is on view through March 26. I’m also fascinated by \u003cem>Hoof and Foot\u003c/em>, a giant video piece by Bay Area artist Chris Sollars, about the comparisons in how animals and students learn. (UC Davis also has a top veterinary school.) Details for exhibits at the Minetti Shrem Museum, which is always free, are\u003ca href=\"http://manettishremmuseum.ucdavis.edu/visit/exhibitions.html\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "189379134"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Nov 18–20\u003c/strong>: \u003ca href=\"http://www.bamuthi.com/#!slide-5\" target=\"_blank\" rel=\"noopener\">Marc Bamuthi Joseph\u003c/a> is a Bay Area treasure — \u003ca href=\"https://www.ybca.org/staff/marc-bamuthi-joseph\" target=\"_blank\" rel=\"noopener\">Chief of Program and Pedagogy\u003c/a> at the Yerba Buena Center for the Arts, and a terrific choreographer, dancer and poet. He’s got a new piece called \u003cem>\u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" target=\"_blank\" rel=\"noopener\">/peh-LO-tah/ — a futbol framed freedom suite\u003c/a>\u003c/em>, about soccer as a sport of joy for kids, but also the place where the Third World meets the First World in a haze of corruption. “Soccer is an extended metaphor,” Bamuthi told me before starting a day of rehearsals. “Moving without the ball is an immigrant story. Being focused on your goal, without being in possession, that’s an immigrant story. So the piece is deeply emotional, but also deeply political in its scope and ambition.” If that sounds too analytical, go anyway. Bamuthi’s dance/plays are always as moving as they are thoughtful. Details for /peh-LO-tah/ at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/peh-lo-tah\" 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/bSOl7yp5QwA'\n title='//www.youtube.com/embed/bSOl7yp5QwA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18\u003c/strong>: Jay Som is the stage name for the multi-talented dream-pop singer and songwriter Melinda Duterte. She grew up in Brentwood and recently moved to San Francisco, so it’s heartening to find we haven’t gentrified everyone out of town yet. Duterte \u003ca href=\"https://ww2.kqed.org/arts/2016/07/25/jay-som-and-the-transformation-of-turn-into/\" target=\"_blank\" rel=\"noopener\">just reissued\u003c/a> her Bandcamp debut \u003cem>Turn Into\u003c/em>, plus she’s got her first music video out (see above). This is handcrafted music, mostly recorded at her home, and wonderfully spooky in the way it mixes memory and heartache. One review called her songs “gorgeous tearjerkers,” and I couldn’t agree more. Details for her show at the Brick & Mortar Music Hall are \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6937935&pl=brickmortar&REFID=brickmortar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12358960/cy-and-davids-picks-a-well-stuffed-show-with-a-communal-orchestra-dream-pop-and-the-politics-of-soccer",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_69",
"arts_235",
"arts_75",
"arts_967",
"arts_70"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_12359545",
"label": "arts_140"
},
"arts_12327437": {
"type": "posts",
"id": "arts_12327437",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12327437",
"score": null,
"sort": [
1478880057000
]
},
"guestAuthors": [],
"slug": "women-veterans-share-stories-from-the-frontlines-on-stage",
"title": "VIDEO: Women Veterans Share Stories from the Frontlines on Stage",
"publishDate": 1478880057,
"format": "video",
"headTitle": "VIDEO: Women Veterans Share Stories from the Frontlines on Stage | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>When Jasmine Johnson was diagnosed with bipolar disorder and post-traumatic stress syndrome (PTSD) five years after she left active duty in the U.S. Navy, she felt like her life was falling apart.\u003c/p>\n\u003cp>“Getting diagnosed with a mental illness can knock your feet out from under you,” Johnson says. “I needed something out of the norm to help me find myself.”\u003c/p>\n\u003cp>Johnson’s found that “something” in \u003ca href=\"http://echotheatersuitcase.com/project/stand-ground\" target=\"_blank\" rel=\"noopener\">\u003cem>Stand Ground\u003c/em>\u003c/a>, a recent theater production at San Francisco’s CounterPulse in which she performed alongside other women veterans and non-veterans. Together, the women told stories through speech, movement and song about their traumatic experiences on the front lines — whether in a war zone or daily civilian life.\u003c/p>\n\u003cp>\u003cem>Stand Ground\u003c/em> was conceived by Bay Area theater \u003ca href=\"http://www.kristadenio.com\" target=\"_blank\" rel=\"noopener\">director Krista DeNio\u003c/a>, who has directed other productions that bring veteran and non-veteran participants together through the \u003ca href=\"http://echotheatersuitcase.com/\" target=\"_blank\" rel=\"noopener\">EchoTheaterSuitcase \u003c/a>project. DeNio comes from a military family and was troubled by the way in which the ex-servicemen and women around her internalized their experiences.\u003c/p>\n\u003cp>“They wouldn’t talk about it,” DeNio says. Making theater is one way of helping people come to terms with the traumas of working in a combat zone. — \u003cem>Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "'Stand Ground,' a recent theater production at San Francisco’s CounterPulse, helps people come to terms with the traumas of working in a combat zone. ",
"status": "publish",
"parent": 0,
"modified": 1726701143,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 220
},
"headData": {
"title": "VIDEO: Women Veterans Share Stories from the Frontlines on Stage | KQED",
"description": "'Stand Ground,' a recent theater production at San Francisco’s CounterPulse, helps people come to terms with the traumas of working in a combat zone. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "VIDEO: Women Veterans Share Stories from the Frontlines on Stage",
"datePublished": "2016-11-11T08:00:57-08:00",
"dateModified": "2024-09-18T16:12:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://youtu.be/uywlaDN5dLE",
"sticky": false,
"nprByline": "Mike Seely",
"path": "/arts/12327437/women-veterans-share-stories-from-the-frontlines-on-stage",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Jasmine Johnson was diagnosed with bipolar disorder and post-traumatic stress syndrome (PTSD) five years after she left active duty in the U.S. Navy, she felt like her life was falling apart.\u003c/p>\n\u003cp>“Getting diagnosed with a mental illness can knock your feet out from under you,” Johnson says. “I needed something out of the norm to help me find myself.”\u003c/p>\n\u003cp>Johnson’s found that “something” in \u003ca href=\"http://echotheatersuitcase.com/project/stand-ground\" target=\"_blank\" rel=\"noopener\">\u003cem>Stand Ground\u003c/em>\u003c/a>, a recent theater production at San Francisco’s CounterPulse in which she performed alongside other women veterans and non-veterans. Together, the women told stories through speech, movement and song about their traumatic experiences on the front lines — whether in a war zone or daily civilian life.\u003c/p>\n\u003cp>\u003cem>Stand Ground\u003c/em> was conceived by Bay Area theater \u003ca href=\"http://www.kristadenio.com\" target=\"_blank\" rel=\"noopener\">director Krista DeNio\u003c/a>, who has directed other productions that bring veteran and non-veteran participants together through the \u003ca href=\"http://echotheatersuitcase.com/\" target=\"_blank\" rel=\"noopener\">EchoTheaterSuitcase \u003c/a>project. DeNio comes from a military family and was troubled by the way in which the ex-servicemen and women around her internalized their experiences.\u003c/p>\n\u003cp>“They wouldn’t talk about it,” DeNio says. Making theater is one way of helping people come to terms with the traumas of working in a combat zone. — \u003cem>Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12327437/women-veterans-share-stories-from-the-frontlines-on-stage",
"authors": [
"byline_arts_12327437"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_3126",
"arts_1072",
"arts_1007"
],
"featImg": "arts_12327634",
"label": "arts"
},
"arts_12329528": {
"type": "posts",
"id": "arts_12329528",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12329528",
"score": null,
"sort": [
1478876988000
]
},
"guestAuthors": [],
"slug": "baryshnikov-and-wilson-excavate-nijinskys-diary-in-letter-to-a-man",
"title": "Baryshnikov and Wilson Excavate Nijinsky's Diary in 'Letter to a Man'",
"publishDate": 1478876988,
"format": "standard",
"headTitle": "Baryshnikov and Wilson Excavate Nijinsky’s Diary in ‘Letter to a Man’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Only the cruelest of Gods would have bothered to create Vaslav Nijinsky (1889-1950), the Russian dancer who burst to fame with the groundbreaking Russian dance company Ballet Russes under the direction of the impresario Serge Diaghilev. To fashion a mind and body that approached the perfection of music and then to let it shatter and decay into madness, and all of it just before the age of film, is the work of a punk and a sadist.\u003c/p>\n\u003cp>The celebrated Russian-American dancer Mikhail Baryshnikov has had plenty of offers to play Nijinsky and has wisely, so far, said, no. Taking on an artist more myth than man is a probable path to failure. And yet as the 68-year old Baryshnikov has gently aged from the amazing dancer he was to the sly actor and conceptual artist he is today, the question of Nijinsky returned. In collaboration with the iconoclastic stage director Robert Wilson, a master of light and stillness, he may have realized that there was a different Nijinsky waiting just for him.\u003c/p>\n\u003cp>So in Cal Performances’ presentation of their touring production \u003ca href=\"https://calperformances.org/performances/2016-17/special-events/robert-wilson-mikhail-baryshnikov-letter-to-a-man.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Letter to a Man\u003c/em>\u003c/a>, Baryshnikov and Wilson begin with Nijinsky the diarist, who in the act of going mad tries to explain what it means to have the grace of God in your art, or as the man himself proclaimed in the diary he wrote in 1919 right before he was institutionalized: “I am God. I am spirit. I am a man of love.” As painful as it is to read Nijinsky’s journal, to see these rambling, chaotic thoughts staged with such rigor is to fall into a world of exasperating beauty.\u003c/p>\n\u003cfigure id=\"attachment_12329720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329720\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg\" alt=\"Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance begins with Baryshnikov sitting in a chair — a ridiculous opener for a dancer playing a dancer. His makeup and demeanor resemble nothing less than a Kabuki mask of pain and surprise. In English and Russian, he says, “I understand war because I fought with my mother-in-law.” The audience laughs at what seems an easy joke, but the laughter ceases when the sentence and the image start to mutate into fragments.\u003c/p>\n\u003cp>The lights black out and return so fast, Baryshnikov changes his expression so slightly, and the sentence keeps on breaking into bits and pieces — “I understand war,” “mother-in-law,” “fought” — to the point that you feel like you’re having a seizure. Barely anything happens and yet the scene is a sensory overload. Like most of \u003cem>Letter to a Man\u003c/em>, we only get a glimpse of Nijinsky’s genius, but his descent into madness is catalogued with an infinite and loving care.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At one point Wilson transforms the stage into a long rectangle of light, making you feel like the black sky is weighing down on your head and the endless road before you is stretching out forever. We hear the diary entry: “I went out for a walk once and it seemed to me there was blood in the snow, and so I ran following the trail. I had the impression that somebody had killed a man but he was alive.”\u003c/p>\n\u003cp>What follows is some of the most beautiful walking you can imagine — hesitant, then leaping forward with great force, then somehow happening all over again. The choreography has the feel of a strip of film come to life. Then you notice that as Nijinsky investigates the bloody trail, right behind him, almost tiptoeing in pursuit, is his shadow, strikingly offset against a thick white fog. There seems to be no possible end or reconciliation, only the belief that a murdered man should be alive, and that a man and his shadow can never be one.\u003c/p>\n\u003cp>It’s as if the piece obsessively reminds us that the only Nijinsky we get is the one that has been violently severed from himself. At one point he takes off his jacket — a relatively simple gesture — but does it with such grace that you end up wishing that you could do the same. That doing so might be the beginning of your entrance to the divine, as it is for Nijinsky a memory of how beautiful and perfect he once was. As the scene ends the jacket takes center stage and the dancer disappears.\u003c/p>\n\u003cfigure id=\"attachment_12329719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg\" alt=\"Vaslav Nijinski (Mikhail Baryshnikov) dreams of perfection in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) dreams of perfection in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it is that split — the memory of a body, mind, and art in accordance with God — that makes \u003cem>Letter to a Man, \u003c/em>though brilliant, a difficult and rough go. Because in the end we can’t make it, and invariably come up short. Even with Baryshnikov and Wilson leading the way, two astounding and accomplished artists, they can only get us to Nijinsky the disaster. The other Nijinsky, well, he’s just a cruel rumor of heaven.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Letter to a Man’ runs through Sunday, Nov. 13 at Cal Performances’ Zellerbach Hall in Berkeley. For tickets and information, \u003ca href=\"https://calperformances.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "Robert Wilson and Mikhail Baryshnikov's arresting production at Cal Performances explores the famed Soviet dancer Vaslav Nijinsky's descent into madness.",
"status": "publish",
"parent": 0,
"modified": 1726770884,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 909
},
"headData": {
"title": "Baryshnikov and Wilson Excavate Nijinsky's Diary in 'Letter to a Man' | KQED",
"description": "Robert Wilson and Mikhail Baryshnikov's arresting production at Cal Performances explores the famed Soviet dancer Vaslav Nijinsky's descent into madness.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Baryshnikov and Wilson Excavate Nijinsky's Diary in 'Letter to a Man'",
"datePublished": "2016-11-11T07:09:48-08:00",
"dateModified": "2024-09-19T11:34:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12329528/baryshnikov-and-wilson-excavate-nijinskys-diary-in-letter-to-a-man",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Only the cruelest of Gods would have bothered to create Vaslav Nijinsky (1889-1950), the Russian dancer who burst to fame with the groundbreaking Russian dance company Ballet Russes under the direction of the impresario Serge Diaghilev. To fashion a mind and body that approached the perfection of music and then to let it shatter and decay into madness, and all of it just before the age of film, is the work of a punk and a sadist.\u003c/p>\n\u003cp>The celebrated Russian-American dancer Mikhail Baryshnikov has had plenty of offers to play Nijinsky and has wisely, so far, said, no. Taking on an artist more myth than man is a probable path to failure. And yet as the 68-year old Baryshnikov has gently aged from the amazing dancer he was to the sly actor and conceptual artist he is today, the question of Nijinsky returned. In collaboration with the iconoclastic stage director Robert Wilson, a master of light and stillness, he may have realized that there was a different Nijinsky waiting just for him.\u003c/p>\n\u003cp>So in Cal Performances’ presentation of their touring production \u003ca href=\"https://calperformances.org/performances/2016-17/special-events/robert-wilson-mikhail-baryshnikov-letter-to-a-man.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Letter to a Man\u003c/em>\u003c/a>, Baryshnikov and Wilson begin with Nijinsky the diarist, who in the act of going mad tries to explain what it means to have the grace of God in your art, or as the man himself proclaimed in the diary he wrote in 1919 right before he was institutionalized: “I am God. I am spirit. I am a man of love.” As painful as it is to read Nijinsky’s journal, to see these rambling, chaotic thoughts staged with such rigor is to fall into a world of exasperating beauty.\u003c/p>\n\u003cfigure id=\"attachment_12329720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329720\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg\" alt=\"Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance begins with Baryshnikov sitting in a chair — a ridiculous opener for a dancer playing a dancer. His makeup and demeanor resemble nothing less than a Kabuki mask of pain and surprise. In English and Russian, he says, “I understand war because I fought with my mother-in-law.” The audience laughs at what seems an easy joke, but the laughter ceases when the sentence and the image start to mutate into fragments.\u003c/p>\n\u003cp>The lights black out and return so fast, Baryshnikov changes his expression so slightly, and the sentence keeps on breaking into bits and pieces — “I understand war,” “mother-in-law,” “fought” — to the point that you feel like you’re having a seizure. Barely anything happens and yet the scene is a sensory overload. Like most of \u003cem>Letter to a Man\u003c/em>, we only get a glimpse of Nijinsky’s genius, but his descent into madness is catalogued with an infinite and loving care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At one point Wilson transforms the stage into a long rectangle of light, making you feel like the black sky is weighing down on your head and the endless road before you is stretching out forever. We hear the diary entry: “I went out for a walk once and it seemed to me there was blood in the snow, and so I ran following the trail. I had the impression that somebody had killed a man but he was alive.”\u003c/p>\n\u003cp>What follows is some of the most beautiful walking you can imagine — hesitant, then leaping forward with great force, then somehow happening all over again. The choreography has the feel of a strip of film come to life. Then you notice that as Nijinsky investigates the bloody trail, right behind him, almost tiptoeing in pursuit, is his shadow, strikingly offset against a thick white fog. There seems to be no possible end or reconciliation, only the belief that a murdered man should be alive, and that a man and his shadow can never be one.\u003c/p>\n\u003cp>It’s as if the piece obsessively reminds us that the only Nijinsky we get is the one that has been violently severed from himself. At one point he takes off his jacket — a relatively simple gesture — but does it with such grace that you end up wishing that you could do the same. That doing so might be the beginning of your entrance to the divine, as it is for Nijinsky a memory of how beautiful and perfect he once was. As the scene ends the jacket takes center stage and the dancer disappears.\u003c/p>\n\u003cfigure id=\"attachment_12329719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg\" alt=\"Vaslav Nijinski (Mikhail Baryshnikov) dreams of perfection in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) dreams of perfection in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it is that split — the memory of a body, mind, and art in accordance with God — that makes \u003cem>Letter to a Man, \u003c/em>though brilliant, a difficult and rough go. Because in the end we can’t make it, and invariably come up short. Even with Baryshnikov and Wilson leading the way, two astounding and accomplished artists, they can only get us to Nijinsky the disaster. The other Nijinsky, well, he’s just a cruel rumor of heaven.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Letter to a Man’ runs through Sunday, Nov. 13 at Cal Performances’ Zellerbach Hall in Berkeley. For tickets and information, \u003ca href=\"https://calperformances.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12329528/baryshnikov-and-wilson-excavate-nijinskys-diary-in-letter-to-a-man",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_966",
"arts_235",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12329531",
"label": "arts_140"
},
"arts_12283997": {
"type": "posts",
"id": "arts_12283997",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12283997",
"score": null,
"sort": [
1478044841000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1478044841,
"format": "standard",
"title": "'Black River Falls' Throws Jonestown Massacre into Sharp Relief",
"headTitle": "‘Black River Falls’ Throws Jonestown Massacre into Sharp Relief | KQED",
"content": "\u003cp>If you’ve ever wondered whether a stage production could be strangely incompetent and yet somehow deliver a low-key evening of interest, then you might want to go to \u003ca href=\"http://performersunderstress.com/PUS/PUS_Home_Page.html\" target=\"_blank\" rel=\"noopener\">Performers Under Stress’ production of Bryn Magnus’ \u003cem>Black River Falls\u003c/em>\u003c/a>, a slow burning fever dream on the dangers and difficulties of leading a decent life.\u003c/p>\n\u003cp>It’s 1978, the Jonestown Massacre is hot news, and 17-year old Gary has cut short what was supposed to be an extended stay in the woods. That he failed to kill a deer is cause for concern. Returning to his small Wisconsin town for Thanksgiving weekend, Gary’s worried about his 15-year-old sister, exasperated with his just-short-of-out-of-it dad, and vaguely in love with a longtime crush who’s involved with another local boy and probably a few others along the way. Our somnambulant hero is alienated, world weary, and the only virgin on stage, much to little sister’s delight.\u003c/p>\n\u003cp>Nothing much happens as Gary drifts from his father’s home, to the neighborhood bar, and to a series of painfully awkward conversations with his crush. Yet there’s something riveting about his desire to make things right with the people in his life, such as Dabney, a small-town braggart whose lurid claims of having sex with Grace Slick and writing parts of “White Rabbit” are treated as both a lie and proud local lore.\u003c/p>\n\u003cfigure id=\"attachment_12284201\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12284201\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128.jpeg\" alt=\"Laurie (Gabby Rose) is a bit troubled in Performers Under Stress' production of 'Black River Falls' by Bryn Magnus.\" width=\"683\" height=\"389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128.jpeg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128-160x91.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128-240x137.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128-375x214.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128-520x296.jpeg 520w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Laurie (Gabby Rose) is a bit troubled in Performers Under Stress’ production of ‘Black River Falls’ by Bryn Magnus. \u003ccite>(Photo: James Charles Lyons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scott Rangle’s production lies somewhere between a quasi-disaster and an inadvertent success. The director guides his cast to a series of well-balanced and sympathetic performances. No one stands out or tries to do too much, and that allows the whole ensemble to just kind of fall into Magnus’ delicate rhythms. But the set, unaccredited, is a jumbled mess. Plus, Rangle seems to have no idea how to move from scene to scene, as if basic stagecraft were an ancient language he’s failed to master.\u003c/p>\n\u003cp>I can think of hundreds of slicker productions that have offered much less. Yet details matter. The quiet care of such unaffected acting should carry the day, but the direction and design undermine that virtue. The play ends up being a strange failure, and an even stranger success.\u003c/p>\n\u003cp>[ad fullwidth]\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Black River Falls’ runs through Sunday, Nov. 20, at Mojo Theater in San Francisco. Tickets and information \u003ca href=\"http://performersunderstress.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 452,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705032609,
"excerpt": "Scott Rangle’s production for Performers Under Stress lies somewhere between a quasi-disaster and an inadvertent success. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Scott Rangle’s production for Performers Under Stress lies somewhere between a quasi-disaster and an inadvertent success. ",
"title": "'Black River Falls' Throws Jonestown Massacre into Sharp Relief | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Black River Falls' Throws Jonestown Massacre into Sharp Relief",
"datePublished": "2016-11-01T17:00:41-07:00",
"dateModified": "2024-01-11T20:10:09-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "black-river-falls-throws-jonestown-massacre-into-sharp-relief",
"status": "publish",
"sticky": false,
"path": "/arts/12283997/black-river-falls-throws-jonestown-massacre-into-sharp-relief",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever wondered whether a stage production could be strangely incompetent and yet somehow deliver a low-key evening of interest, then you might want to go to \u003ca href=\"http://performersunderstress.com/PUS/PUS_Home_Page.html\" target=\"_blank\" rel=\"noopener\">Performers Under Stress’ production of Bryn Magnus’ \u003cem>Black River Falls\u003c/em>\u003c/a>, a slow burning fever dream on the dangers and difficulties of leading a decent life.\u003c/p>\n\u003cp>It’s 1978, the Jonestown Massacre is hot news, and 17-year old Gary has cut short what was supposed to be an extended stay in the woods. That he failed to kill a deer is cause for concern. Returning to his small Wisconsin town for Thanksgiving weekend, Gary’s worried about his 15-year-old sister, exasperated with his just-short-of-out-of-it dad, and vaguely in love with a longtime crush who’s involved with another local boy and probably a few others along the way. Our somnambulant hero is alienated, world weary, and the only virgin on stage, much to little sister’s delight.\u003c/p>\n\u003cp>Nothing much happens as Gary drifts from his father’s home, to the neighborhood bar, and to a series of painfully awkward conversations with his crush. Yet there’s something riveting about his desire to make things right with the people in his life, such as Dabney, a small-town braggart whose lurid claims of having sex with Grace Slick and writing parts of “White Rabbit” are treated as both a lie and proud local lore.\u003c/p>\n\u003cfigure id=\"attachment_12284201\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12284201\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128.jpeg\" alt=\"Laurie (Gabby Rose) is a bit troubled in Performers Under Stress' production of 'Black River Falls' by Bryn Magnus.\" width=\"683\" height=\"389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128.jpeg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128-160x91.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128-240x137.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128-375x214.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/blackriver1-e1477984412128-520x296.jpeg 520w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Laurie (Gabby Rose) is a bit troubled in Performers Under Stress’ production of ‘Black River Falls’ by Bryn Magnus. \u003ccite>(Photo: James Charles Lyons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scott Rangle’s production lies somewhere between a quasi-disaster and an inadvertent success. The director guides his cast to a series of well-balanced and sympathetic performances. No one stands out or tries to do too much, and that allows the whole ensemble to just kind of fall into Magnus’ delicate rhythms. But the set, unaccredited, is a jumbled mess. Plus, Rangle seems to have no idea how to move from scene to scene, as if basic stagecraft were an ancient language he’s failed to master.\u003c/p>\n\u003cp>I can think of hundreds of slicker productions that have offered much less. Yet details matter. The quiet care of such unaffected acting should carry the day, but the direction and design undermine that virtue. The play ends up being a strange failure, and an even stranger success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Black River Falls’ runs through Sunday, Nov. 20, at Mojo Theater in San Francisco. Tickets and information \u003ca href=\"http://performersunderstress.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12283997/black-river-falls-throws-jonestown-massacre-into-sharp-relief",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12284196",
"label": "arts_140"
},
"arts_12237581": {
"type": "posts",
"id": "arts_12237581",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12237581",
"score": null,
"sort": [
1477681233000
]
},
"guestAuthors": [],
"slug": "drag-queen-heklina-pops-her-opera-cherry",
"title": "Drag Queen Heklina Pops Her Opera Cherry at Oasis",
"publishDate": 1477681233,
"format": "standard",
"headTitle": "Drag Queen Heklina Pops Her Opera Cherry at Oasis | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A spectacularly-adorned creature — all glitter, lashes, hair, and curves — commands the stage with her bearing alone. Watching \u003ca href=\"https://en.wikipedia.org/wiki/Trannyshack\" target=\"_blank\" rel=\"noopener\">Trannyshack\u003c/a> founder Heklina open her mouth and unleash a booming sound that can’t be ignored as she belts out an anthem she wrote about self-expression entitled “Live My Life,” one can’t help but notice how the famed San Francisco drag queen so effortlessly captures the essence of many an opera diva.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-d2f2vfPYTo\u003c/p>\n\u003cp>So it seems fitting that Heklina is hosting \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">\u003ci>Drag Queen of the Opera\u003c/i>\u003c/a> at her club, \u003ca href=\"http://sfoasis.com\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a>, in collaboration with singers from \u003ca href=\"http://sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> (SF Opera). Appealing to the “opera-curious,” the Sunday, Oct. 30 offering from the company’s hip new audience outreach arm \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a> promises to be popular among fans of both drag and opera, as well as newbies. Heklina is encouraging audience members to come in costume, drink cocktails, and enjoy arias performed by young singers. And there’s a DJ dance party afterwards.\u003c/p>\n\u003cp>The lineup includes \u003ca href=\"http://imgartists.com/artist/julie_adams\" target=\"_blank\" rel=\"noopener\">Julie Adams\u003c/a> (who aced the U.S. opera world’s biggest competition in 2014, the Metropolitan Opera National Council Auditions) and \u003ca href=\"http://brentonryan.com\" target=\"_blank\" rel=\"noopener\">Brenton Ryan\u003c/a>, hot off his acclaimed SF Opera debut in \u003ci>The Makropulos Case\u003c/i>, as well as additional vocalists and a pianist. There’ll be ample gender-role bending. And in keeping with the onrush of Halloween, looming large will be witches, devils, and coming back from the dead. The ringmistress of all of this operatic mayhem, of course, is Heklina, setting up the scenes and keeping the audience focused with the sharp and bawdy humor for which she’s known.\u003c/p>\n\u003cfigure id=\"attachment_12242565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg\" alt=\"SF Opera Lab Pop-Up\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994.jpg 1129w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera has hosted two previous pop-ups at Public Works and The Chapel. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Popping her opera cherry\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heklina herself is no opera insider. She’s never actually experienced an opera performed live on stage, though she’s going to get a chance to pop her opera cherry when she goes to see SF Opera’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Madame Butterfly\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> next month. “I’m not sure why I’ve never been, maybe I thought it would not resonate,” Heklina says. “Like most people who aren’t familiar with opera, the word conjures images of a heavyset man belting out songs in Italian or Bugs Bunny dressed up like a valkyrie.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Heklina has been enjoying her nascent relationship with the young, classically-trained singers she’s collaborating with at Oasis. “After working with these guys for the past few weeks, I am very intrigued,” she says. “For the uninitiated, the pop-up will be a great intro to the opera world.”\u003c/p>\n\u003ch3>Opera and the queer community\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opera has a huge fan base among the Bay Area’s queer community. SF Opera even has a subscription program dubbed the “Rainbow Series” for LGBT patrons, complete with rainbow colored lights and exclusive receptions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For me, a part of the intersection of queerness and opera definitely came out of a feeling of ‘otherness’ I had growing up,” says soprano \u003ca href=\"http://www.emmamcnairy.com\" target=\"_blank\" rel=\"noopener\">Emma McNairy\u003c/a>, who identifies as a lesbian. “This related to me feeling queer in some way, as well as me being so obsessed with opera as a child and teenager. My peers did not really understand this about me, but opera gave me such an amazing world and outlet for intellectual endeavors, languages, and then just plain emotion.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the mass popularity of TV shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transparent \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and the once-niche but now prime-time \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">RuPaul’s Drag Race\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, gender fluidity is much more out in the open in our culture at large. This makes it a good time for the traditionalist, institutional art form of opera and the free-flowing, underground world of drag to finally get a joint coming-out party.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SF Opera Lab Pop-Ups: Innovative, Intimate, Eclectic Opera\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ir-hWK8J_1I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For its part, SF Opera hopes the show at Oasis will engage a younger, more diverse crowd — just like the two other more experimental events the Lab has put on since being founded last season. “Drag shows and opera are similar in melodrama, grandness, and the pomp and circumstance,” says Sean Waugh, the artistic planning manager at SF Opera and the producer of all of the company’s pop-up events thus far. “I like pushing us more and more out of our comfort zone, especially the performers. We are hoping to find a connection to the drag and LGBT community, especially the younger people.”\u003c/span>\u003c/p>\n\u003ch3>Cross-dressing not new to opera\u003c/h3>\n\u003cp>Cross-dressing in opera is as old as the art form itself. Women’s roles were originally sung by castrati — male singers whose testicles were removed before puberty — as seen in the 1994 movie \u003ci>\u003cspan style=\"font-weight: 400\">Farinelli\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. These days castrated singers are hard to come by, so the parts in 17th and 18th century operas are sometimes taken by male countertenors who sing in falsetto — or just as often, if not more often, by pants-wearing female performers.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Opera’s gender fluidity isn’t just part of ancient history. You can trace a clear line from Mozart’s casting of a woman in the role of the boy Cherubino in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Marriage of Figaro, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">through Richard Strauss’ making Octavian a female part in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Der Rosenkavalier\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and on to Thomas Adès using a soprano for the gender-neutral spirit Ariel in his 2004 version of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Tempest\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12264824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12264824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg\" alt=\"Fans get their opera on at a recent SF Opera Lab event in San Francisco.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261.jpg 1985w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans get their opera on at a recent SF Opera Lab event in San Francisco. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">While less common, men occasionally take on female roles in opera, most notably \u003c/span>\u003cspan style=\"font-weight: 400\">the Gingerbread Witch in 19th century composer Engelbert Humperdinck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hansel and Gretel.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Though the role was originally written for a mezzo-soprano, the witch is also routinely sung by a tenor, as in the Metropolitan Opera’s high-def film production in 2008.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">“Queer culture and opera have been inextricably intertwined since the days of Monteverdi,” says Michael Strickland, a gay opera fan and \u003ca href=\"http://sfciviccenter.blogspot.com\" target=\"_blank\" rel=\"noopener\">cultural blogger\u003c/a> who lives in San Francisco. “Why are so many queers into musical theater? I really don’t have a clue, other than they have an inclination towards escape, art, and fabulousness.”\u003c/span>\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Drag Queen of the Opera’ gets underway on Sunday, Oct. 30, at Oasis in San Francisco. Tickets and information \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new collaboration at Club Oasis between one of San Francisco’s most revered drag performers and young singers from SF Opera highlights the enduring relationship between opera and cross-dressing.",
"status": "publish",
"parent": 0,
"modified": 1726770890,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 1111
},
"headData": {
"title": "Drag Queen Heklina Pops Her Opera Cherry at Oasis | KQED",
"description": "A new collaboration at Club Oasis between one of San Francisco’s most revered drag performers and young singers from SF Opera highlights the enduring relationship between opera and cross-dressing.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Drag Queen Heklina Pops Her Opera Cherry at Oasis",
"datePublished": "2016-10-28T12:00:33-07:00",
"dateModified": "2024-09-19T11:34:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12237581/drag-queen-heklina-pops-her-opera-cherry",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A spectacularly-adorned creature — all glitter, lashes, hair, and curves — commands the stage with her bearing alone. Watching \u003ca href=\"https://en.wikipedia.org/wiki/Trannyshack\" target=\"_blank\" rel=\"noopener\">Trannyshack\u003c/a> founder Heklina open her mouth and unleash a booming sound that can’t be ignored as she belts out an anthem she wrote about self-expression entitled “Live My Life,” one can’t help but notice how the famed San Francisco drag queen so effortlessly captures the essence of many an opera diva.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-d2f2vfPYTo'\n title='//www.youtube.com/embed/-d2f2vfPYTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So it seems fitting that Heklina is hosting \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">\u003ci>Drag Queen of the Opera\u003c/i>\u003c/a> at her club, \u003ca href=\"http://sfoasis.com\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a>, in collaboration with singers from \u003ca href=\"http://sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> (SF Opera). Appealing to the “opera-curious,” the Sunday, Oct. 30 offering from the company’s hip new audience outreach arm \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a> promises to be popular among fans of both drag and opera, as well as newbies. Heklina is encouraging audience members to come in costume, drink cocktails, and enjoy arias performed by young singers. And there’s a DJ dance party afterwards.\u003c/p>\n\u003cp>The lineup includes \u003ca href=\"http://imgartists.com/artist/julie_adams\" target=\"_blank\" rel=\"noopener\">Julie Adams\u003c/a> (who aced the U.S. opera world’s biggest competition in 2014, the Metropolitan Opera National Council Auditions) and \u003ca href=\"http://brentonryan.com\" target=\"_blank\" rel=\"noopener\">Brenton Ryan\u003c/a>, hot off his acclaimed SF Opera debut in \u003ci>The Makropulos Case\u003c/i>, as well as additional vocalists and a pianist. There’ll be ample gender-role bending. And in keeping with the onrush of Halloween, looming large will be witches, devils, and coming back from the dead. The ringmistress of all of this operatic mayhem, of course, is Heklina, setting up the scenes and keeping the audience focused with the sharp and bawdy humor for which she’s known.\u003c/p>\n\u003cfigure id=\"attachment_12242565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg\" alt=\"SF Opera Lab Pop-Up\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/2.11.16_SFOLab-2435a-e1477601192994.jpg 1129w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Opera has hosted two previous pop-ups at Public Works and The Chapel. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Popping her opera cherry\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heklina herself is no opera insider. She’s never actually experienced an opera performed live on stage, though she’s going to get a chance to pop her opera cherry when she goes to see SF Opera’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Madame Butterfly\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> next month. “I’m not sure why I’ve never been, maybe I thought it would not resonate,” Heklina says. “Like most people who aren’t familiar with opera, the word conjures images of a heavyset man belting out songs in Italian or Bugs Bunny dressed up like a valkyrie.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Heklina has been enjoying her nascent relationship with the young, classically-trained singers she’s collaborating with at Oasis. “After working with these guys for the past few weeks, I am very intrigued,” she says. “For the uninitiated, the pop-up will be a great intro to the opera world.”\u003c/p>\n\u003ch3>Opera and the queer community\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opera has a huge fan base among the Bay Area’s queer community. SF Opera even has a subscription program dubbed the “Rainbow Series” for LGBT patrons, complete with rainbow colored lights and exclusive receptions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For me, a part of the intersection of queerness and opera definitely came out of a feeling of ‘otherness’ I had growing up,” says soprano \u003ca href=\"http://www.emmamcnairy.com\" target=\"_blank\" rel=\"noopener\">Emma McNairy\u003c/a>, who identifies as a lesbian. “This related to me feeling queer in some way, as well as me being so obsessed with opera as a child and teenager. My peers did not really understand this about me, but opera gave me such an amazing world and outlet for intellectual endeavors, languages, and then just plain emotion.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the mass popularity of TV shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transparent \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and the once-niche but now prime-time \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">RuPaul’s Drag Race\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, gender fluidity is much more out in the open in our culture at large. This makes it a good time for the traditionalist, institutional art form of opera and the free-flowing, underground world of drag to finally get a joint coming-out party.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SF Opera Lab Pop-Ups: Innovative, Intimate, Eclectic Opera\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ir-hWK8J_1I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For its part, SF Opera hopes the show at Oasis will engage a younger, more diverse crowd — just like the two other more experimental events the Lab has put on since being founded last season. “Drag shows and opera are similar in melodrama, grandness, and the pomp and circumstance,” says Sean Waugh, the artistic planning manager at SF Opera and the producer of all of the company’s pop-up events thus far. “I like pushing us more and more out of our comfort zone, especially the performers. We are hoping to find a connection to the drag and LGBT community, especially the younger people.”\u003c/span>\u003c/p>\n\u003ch3>Cross-dressing not new to opera\u003c/h3>\n\u003cp>Cross-dressing in opera is as old as the art form itself. Women’s roles were originally sung by castrati — male singers whose testicles were removed before puberty — as seen in the 1994 movie \u003ci>\u003cspan style=\"font-weight: 400\">Farinelli\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. These days castrated singers are hard to come by, so the parts in 17th and 18th century operas are sometimes taken by male countertenors who sing in falsetto — or just as often, if not more often, by pants-wearing female performers.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Opera’s gender fluidity isn’t just part of ancient history. You can trace a clear line from Mozart’s casting of a woman in the role of the boy Cherubino in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Marriage of Figaro, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">through Richard Strauss’ making Octavian a female part in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Der Rosenkavalier\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and on to Thomas Adès using a soprano for the gender-neutral spirit Ariel in his 2004 version of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Tempest\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12264824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12264824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg\" alt=\"Fans get their opera on at a recent SF Opera Lab event in San Francisco.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/4.1.16_SFOperaLab-2131-1-e1477600482261.jpg 1985w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans get their opera on at a recent SF Opera Lab event in San Francisco. \u003ccite>(Photo: Kristen Loken/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">While less common, men occasionally take on female roles in opera, most notably \u003c/span>\u003cspan style=\"font-weight: 400\">the Gingerbread Witch in 19th century composer Engelbert Humperdinck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hansel and Gretel.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Though the role was originally written for a mezzo-soprano, the witch is also routinely sung by a tenor, as in the Metropolitan Opera’s high-def film production in 2008.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">“Queer culture and opera have been inextricably intertwined since the days of Monteverdi,” says Michael Strickland, a gay opera fan and \u003ca href=\"http://sfciviccenter.blogspot.com\" target=\"_blank\" rel=\"noopener\">cultural blogger\u003c/a> who lives in San Francisco. “Why are so many queers into musical theater? I really don’t have a clue, other than they have an inclination towards escape, art, and fabulousness.”\u003c/span>\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Drag Queen of the Opera’ gets underway on Sunday, Oct. 30, at Oasis in San Francisco. Tickets and information \u003ca href=\"http://sfoasis.com/event.cfm?cart&id=173817\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12237581/drag-queen-heklina-pops-her-opera-cherry",
"authors": [
"8660"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12260640",
"label": "arts_140"
},
"arts_12257503": {
"type": "posts",
"id": "arts_12257503",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12257503",
"score": null,
"sort": [
1477605631000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1477605631,
"format": "standard",
"title": "Shotgun Players' 'Who's Afraid...?' Raises Edward Albee From The Dead",
"headTitle": "Shotgun Players’ ‘Who’s Afraid…?’ Raises Edward Albee From The Dead | KQED",
"content": "\u003cp>Edward Albee is dead. While audiences and theater-makers around the world mourn the three-time, Pulitzer-Prize winning playwright’s recent passing on Sep. 16, his work palpably shows that the question of death is not always a settled one.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>That’s certainly true of his 1962 shocker, \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em>, a play so simply conceived that you could sum it up in two actions: guests come and guests go. Or if you’re a stickler for detail: a middle-aged couple, George and Martha, invites a younger one, Nick and Honey, over for late night drinks, on a kind of wouldn’t-it-be-fun-to-keep-the-party-going lark.\u003c/p>\n\u003cp>Most productions of \u003cem>Who’s Afraid\u003c/em> follow the template of Mike Nichols’ justly lauded 1966 film adaption starring Elizabeth Taylor and Richard Burton, right down to Taylor’s boozy line readings and the knick-knack realism of the sets. So the first shock we get in the Shotgun Players’ radical take on Albee’s play is what’s missing. Almost everything. Director Mark Jackson and set designer Nina Ball strip the stage of every prop except the most essential: liquor and the glasses with which to down it.\u003c/p>\n\u003cfigure id=\"attachment_12257701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12257701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-800x450.jpg\" alt=\"(L to R) George (David Sinako) falls into a reverie as his guest Nick (Josh Schnell) barely pays attention in the Shotgun Players' production of 'Who's Afraid of Virginia Woolf' by Edward Albee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) George (David Sinaiko) falls into a reverie as his guest Nick (Josh Schnell) barely pays attention in the Shotgun Players’ production of ‘Who’s Afraid of Virginia Woolf?’ by Edward Albee. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That one move plunges us into a world of stark beauty. The raised stage resembles a ballroom platform, its shiny floor spit-polished for the violence to come. Bisecting the long floating bar that covers the width of the stage, a bare staircase leads to a shadowy second floor bathroom, the finish line to a couple of memorable sprints to vomit in private. The liquor bottles, a dazzling array of primary colors offset by a white background, are garishly lit and possess an almost religious luminescence.\u003c/p>\n\u003cp>One might say that it’s a set that requires our active imagination. Every aspect of it could stand for almost anything at any given moment. Beth Wilmurt’s Martha slides down the front of the platform with an ice skater’s ease, ending with a demure cross of the legs as if she had politely lowered herself into a chair. When David Sinaiko’s George needs privacy, he merely steps off the platform and into what feels like nothing. Yet that space ably transforms into various hallways, the living room, and a graveyard of abandoned and broken shot glasses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jackson choreographs the action so that each individual moment possesses a symbolic visual logic. Nick sits on the couch — the edge of the platform — and George walks up to him, towering over the taller, younger man before him. Both actors perform the scene in a realistic manner, and yet the image of George as twice the size of Nick tells a wildly different story, as if reality were bifurcating right in front of us.\u003c/p>\n\u003cfigure id=\"attachment_12257698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12257698\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-800x450.jpg\" alt=\"Honey (Megan Trout) uses her husband Nick's body (Josh Schnell) as a piece of furniture in the Shotgun Players' production of 'Who's Afraid of Virginia Woolf' by Edward Albee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey (Megan Trout) uses her husband Nick’s body (Josh Schnell) as a piece of furniture in the Shotgun Players’ production of ‘Who’s Afraid of Virginia Woolf?’ by Edward Albee. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Megan Trout’s Honey, the character most bound to the needs of the architecture — she’s a vomiter — slips, falls, and lurches her way through a series of impossible poses, all of which would violate logic in a more realistic set. Here, however, they play up how malleable and misused Honey’s body and spirit are. We take all this in realistically, and yet the only way we understand the reality before us is that it is fundamentally not there. That’s not only a brilliant theatrical ploy, but also one that cuts deep into the logic of Albee’s troubling vision: the world is only what we make it out to be.\u003c/p>\n\u003cp>Jackson hasn’t come up with a concept so much as an assault; not an interpretation but a demand: that the play, the actors, the direction, the design, and the audience come together and perform a collective act of creation. And that’s what Albee probably wants — for us to see what the imagination really is and how the world around us is a product of its violent desires for happiness and peace.\u003c/p>\n\u003cp>That tension is right there in the opening of the third act, when Martha, alone on the stage, starts to act out bits and pieces of the life and marriage she wishes she had. Wilmurt glides across the stage, tapping parts of the set as if Martha is feeling the outlines of her soul. The scene is often played as a drunk lashing out at the world, at odds with everything and everyone around her. But Wilmurt’s touch is gentle and precise. Through her superb performance, we realize how fragile Martha is, and how delicate the life and world she’s made truly are. Drunk has never been so exacting and painful.\u003c/p>\n\u003cp>As the play unfurls its way to Albee’s haunting end, the production becomes so simple and alive that it hardly feels as if the brilliant cast is acting at all. They have become everything that we have imagined, and so they just say the lines and we happily and painfully fill in the rest. It’s like a carpet-bombing inside your head. Albee is dead, but Shotgun’s production brings his imagination bracingly back to life.\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Shotgun Players’ ‘Who’s Afraid of Virginia Woolf?’ runs through Sunday, Nov. 20 at The Ashby Stage in Berkeley. For tickets and information, \u003ca href=\"http://shotgunplayers.org\">click here\u003c/a>\u003c/em>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1002,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705032654,
"excerpt": "After Edward Albee's passing, a superbly staged and performed take on 'Who's Afraid of Virginia Woolf?' shows that the question of death is not always a settled one. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After Edward Albee's passing, a superbly staged and performed take on 'Who's Afraid of Virginia Woolf?' shows that the question of death is not always a settled one. ",
"title": "Shotgun Players' 'Who's Afraid...?' Raises Edward Albee From The Dead | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Shotgun Players' 'Who's Afraid...?' Raises Edward Albee From The Dead",
"datePublished": "2016-10-27T15:00:31-07:00",
"dateModified": "2024-01-11T20:10:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "shotgun-players-whos-afraid-raises-edward-albee-from-the-dead",
"status": "publish",
"sticky": false,
"path": "/arts/12257503/shotgun-players-whos-afraid-raises-edward-albee-from-the-dead",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Edward Albee is dead. While audiences and theater-makers around the world mourn the three-time, Pulitzer-Prize winning playwright’s recent passing on Sep. 16, his work palpably shows that the question of death is not always a settled one.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>That’s certainly true of his 1962 shocker, \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em>, a play so simply conceived that you could sum it up in two actions: guests come and guests go. Or if you’re a stickler for detail: a middle-aged couple, George and Martha, invites a younger one, Nick and Honey, over for late night drinks, on a kind of wouldn’t-it-be-fun-to-keep-the-party-going lark.\u003c/p>\n\u003cp>Most productions of \u003cem>Who’s Afraid\u003c/em> follow the template of Mike Nichols’ justly lauded 1966 film adaption starring Elizabeth Taylor and Richard Burton, right down to Taylor’s boozy line readings and the knick-knack realism of the sets. So the first shock we get in the Shotgun Players’ radical take on Albee’s play is what’s missing. Almost everything. Director Mark Jackson and set designer Nina Ball strip the stage of every prop except the most essential: liquor and the glasses with which to down it.\u003c/p>\n\u003cfigure id=\"attachment_12257701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12257701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-800x450.jpg\" alt=\"(L to R) George (David Sinako) falls into a reverie as his guest Nick (Josh Schnell) barely pays attention in the Shotgun Players' production of 'Who's Afraid of Virginia Woolf' by Edward Albee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf3George-e1477469103456.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) George (David Sinaiko) falls into a reverie as his guest Nick (Josh Schnell) barely pays attention in the Shotgun Players’ production of ‘Who’s Afraid of Virginia Woolf?’ by Edward Albee. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That one move plunges us into a world of stark beauty. The raised stage resembles a ballroom platform, its shiny floor spit-polished for the violence to come. Bisecting the long floating bar that covers the width of the stage, a bare staircase leads to a shadowy second floor bathroom, the finish line to a couple of memorable sprints to vomit in private. The liquor bottles, a dazzling array of primary colors offset by a white background, are garishly lit and possess an almost religious luminescence.\u003c/p>\n\u003cp>One might say that it’s a set that requires our active imagination. Every aspect of it could stand for almost anything at any given moment. Beth Wilmurt’s Martha slides down the front of the platform with an ice skater’s ease, ending with a demure cross of the legs as if she had politely lowered herself into a chair. When David Sinaiko’s George needs privacy, he merely steps off the platform and into what feels like nothing. Yet that space ably transforms into various hallways, the living room, and a graveyard of abandoned and broken shot glasses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jackson choreographs the action so that each individual moment possesses a symbolic visual logic. Nick sits on the couch — the edge of the platform — and George walks up to him, towering over the taller, younger man before him. Both actors perform the scene in a realistic manner, and yet the image of George as twice the size of Nick tells a wildly different story, as if reality were bifurcating right in front of us.\u003c/p>\n\u003cfigure id=\"attachment_12257698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12257698\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-800x450.jpg\" alt=\"Honey (Megan Trout) uses her husband Nick's body (Josh Schnell) as a piece of furniture in the Shotgun Players' production of 'Who's Afraid of Virginia Woolf' by Edward Albee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Woolf2Meagan-e1477468787388.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey (Megan Trout) uses her husband Nick’s body (Josh Schnell) as a piece of furniture in the Shotgun Players’ production of ‘Who’s Afraid of Virginia Woolf?’ by Edward Albee. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Megan Trout’s Honey, the character most bound to the needs of the architecture — she’s a vomiter — slips, falls, and lurches her way through a series of impossible poses, all of which would violate logic in a more realistic set. Here, however, they play up how malleable and misused Honey’s body and spirit are. We take all this in realistically, and yet the only way we understand the reality before us is that it is fundamentally not there. That’s not only a brilliant theatrical ploy, but also one that cuts deep into the logic of Albee’s troubling vision: the world is only what we make it out to be.\u003c/p>\n\u003cp>Jackson hasn’t come up with a concept so much as an assault; not an interpretation but a demand: that the play, the actors, the direction, the design, and the audience come together and perform a collective act of creation. And that’s what Albee probably wants — for us to see what the imagination really is and how the world around us is a product of its violent desires for happiness and peace.\u003c/p>\n\u003cp>That tension is right there in the opening of the third act, when Martha, alone on the stage, starts to act out bits and pieces of the life and marriage she wishes she had. Wilmurt glides across the stage, tapping parts of the set as if Martha is feeling the outlines of her soul. The scene is often played as a drunk lashing out at the world, at odds with everything and everyone around her. But Wilmurt’s touch is gentle and precise. Through her superb performance, we realize how fragile Martha is, and how delicate the life and world she’s made truly are. Drunk has never been so exacting and painful.\u003c/p>\n\u003cp>As the play unfurls its way to Albee’s haunting end, the production becomes so simple and alive that it hardly feels as if the brilliant cast is acting at all. They have become everything that we have imagined, and so they just say the lines and we happily and painfully fill in the rest. It’s like a carpet-bombing inside your head. Albee is dead, but Shotgun’s production brings his imagination bracingly back to life.\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Shotgun Players’ ‘Who’s Afraid of Virginia Woolf?’ runs through Sunday, Nov. 20 at The Ashby Stage in Berkeley. For tickets and information, \u003ca href=\"http://shotgunplayers.org\">click here\u003c/a>\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12257503/shotgun-players-whos-afraid-raises-edward-albee-from-the-dead",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12257697",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"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.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"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.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"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.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=theater": {
"isFetching": false,
"latestQuery": {
"from": 588,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 979,
"relation": "eq"
},
"items": [
"arts_12419647",
"arts_12418801",
"about_7894",
"arts_12381231",
"arts_12385793",
"arts_12368326",
"arts_12358960",
"arts_12327437",
"arts_12329528",
"arts_12283997",
"arts_12237581",
"arts_12257503"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_theater": {
"isLoading": true
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_700": {
"type": "terms",
"id": "arts_700",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "700",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticket alert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticket alert Archives | KQED Arts",
"ogDescription": null
},
"ttid": 711,
"slug": "ticket-alert",
"isLoading": false,
"link": "/arts/tag/ticket-alert"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"about_15": {
"type": "terms",
"id": "about_15",
"meta": {
"index": "terms_1716263798",
"site": "about",
"id": "15",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Giveaways",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Giveaways | KQED",
"ogDescription": null
},
"ttid": 15,
"slug": "giveaways",
"isLoading": false,
"link": "/about/program/giveaways"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_3126": {
"type": "terms",
"id": "arts_3126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "represent",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "represent Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3138,
"slug": "represent",
"isLoading": false,
"link": "/arts/tag/represent"
},
"arts_1072": {
"type": "terms",
"id": "arts_1072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1089,
"slug": "theater",
"isLoading": false,
"link": "/arts/tag/theater"
},
"arts_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
