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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca title=\"The Moth\" href=\"http://themoth.org/about\" target=\"_blank\">The Moth\u003c/a> is an acclaimed not-for-profit organization dedicated to the art and craft of storytelling, with public StorySLAM events that are \u003ca title=\"The Moth on KQED Public Radio\" href=\"http://www.kqed.org/radio/programs/index.jsp?pgmid=RD96\" target=\"_blank\">broadcast each Saturday at 10pm on KQED Public Radio (88.5.)\u003c/a> \u003cstrong>Their next \u003ca title=\"San Francisco GrandSLAM\" href=\"https://themoth.org/events/grandslam-championship-san-francisco\" target=\"_blank\">GrandSLAM\u003c/a> is at the historic \u003ca title=\"SF GrandSLAM\" href=\"http://www.castrotheatre.com/\" target=\"_blank\">Castro Theatre\u003c/a> in San Francisco on Tuesday, October 18 and we’ve got four pairs of tickets to give away to this guaranteed-sell-out night!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of winning them, just send an email to \u003ca href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject “Grand SLAM\" that contains your full name and phone number.\u003c/strong>\u003c/p>\n\u003cp>From all entries we’ll randomly select four winners for a pair of tickets (worth $50 per pair.) \u003cstrong>Deadline to enter is Sunday, October 16 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Monday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003cem>\u003ca href=\"https://themoth.org/events/grandslam-championship-san-francisco\" target=\"_blank\">The Moth GrandSLAM\u003c/a>\u003ca style=\"color: #114999\" href=\"https://deyoung.famsf.org/exhibitions/modernism-national-gallery-art-robert-jane-meyerhoff-collection?utm_source=kqed&utm_medium=promo&utm_campaign=meyerhoff\" target=\"_blank\">\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>Doors 7:00 pm, Tuesday, Oct 18\u003cbr>\n\u003c/b>\u003cstrong>\u003ca title=\"SF GrandSLAM\" href=\"http://www.castrotheatre.com/\" target=\"_blank\">Castro Theatre\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>429 Castro St, San Francisco, CA 94114\u003c/strong>\u003cbr>\n\u003cstrong>(415) 621-6350\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Crowded Fire’s ‘The Shipment’ Explores Race Through Minstrelsy",
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"content": "\u003cp>Korean-American playwright and provocateur Young Jean Lee’s \u003ca href=\"http://www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Shipment\u003c/em>\u003c/a> begins with a minstrel routine. The two dancers in Crowded Fire’s excellent production, played by William Hartfield and a riotously funny Nican Robinson, aren’t that good. Or they might be good at being bad. It’s hard to tell.\u003c/p>\n\u003cp>But when they collapse on the floor in exhaustion, you think maybe “good” and “bad” aren’t what Lee’s after. The beauty of the opening is that it doesn’t catch us off-guard, so much as hint at what we’ve always known. Here is the cost of America’s racial drama: two exhausted African-American men, sprawled on stage and staring into space.\u003c/p>\n\u003cp>And so we’re off and running with \u003cem>The Shipment\u003c/em>, a work that’s part minstrel show and part drawing-room social satire. Lee, a rising star in the American theater and the foremost practitioner of great bad writing, loves faulty thinking and barren aesthetics. In our country’s ongoing racial psycho-drama, she has an abundance of available material. Careful never to fall into the trap of the exposé — the “oh my God, if we had only known” surprise of white liberal outrage — Lee chooses to embrace the methodical, frantic pace of the variety show with this work. The question becomes not what the show is about, but rather the ease with which we miss all the human pain that produces it.\u003c/p>\n\u003cfigure id=\"attachment_12161292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161292\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg\" alt=\"Howard Johnson is a shock comic in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Howard Johnson is a shock comic in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When an obscene nightclub comic (played by Howard Johnson channeling Chris Rock) takes the stage, his over-the-top offensiveness is so uninspired it comes off as sweet. Yet, like the minstrels before him, his show is a ruse. What matters is the performance of the performance. Not what he says, but what it takes to say what he says. Who is the man behind the act? How does he do it night after night? And, most importantly, at what cost?\u003c/p>\n\u003cp>\u003cem>The Shipment\u003c/em> reaches a dizzying high in stripping bare that question in the next “act” of the show when the cast performs the tale of “Omar the Rapper.” The winding narrative follows the fortunes of a young man (an effervescent Michael Wayne Turner III) who dreams of fame, loses his best friend “Sidekick Michael” to a drive-by shooting, falls in with “Drug Dealer Desmond,” ends up in jail, picks up a spiritual mentor, meets a record producer, becomes famous and then miserable, and finally finds true guidance from his dead grandmother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even moreso than the exhausted dance of the minstrels and faux outrage of the shock comic, the actual content of “Omar the Rapper,” as presented, is empty of meaning. The actors that animate them, though, are striking. The cast sloughs off and races through the lines with an off-handed aplomb, in a startling mixture of skill and boredom. As Omar’s rise and fall becomes more and more ridiculous, we start to pay attention to the only meaningful thing on stage — the performances.\u003c/p>\n\u003cp>Not the performances of the actual cast — who are all terrific — but the performances of the shadow cast, the fictional actors who take on these ridiculous, iconic roles: the black minstrels, the black comic, the black rapper, the black grandmother, the gay black hairdresser, the black gangster. Are they the puppet masters or the puppets? No matter how arresting the action is on stage, Lee keeps reminding us that the real action is off to the side.\u003c/p>\n\u003cp>One might say that somewhere off stage there are human beings striving for hope and dignity. But under Lee’s relentless assault on racial conventions, even dignity is a game, as the cast comes out, stares at the audience for an uncomfortable amount of time, and launches into a spiritually tinged, a cappella rendition of Modest Mouse’s “Dark Center of the Universe.”\u003c/p>\n\u003cp>Hearing white indie-rock sensitivity mixed with a we-shall-overcome African-American aesthetic makes for a sharp primer on the limitations of dignity and bearing witness. The lyrics from Modest Mouse’s Isaac Brock are not only bad — “I might disintegrate into thin air if you’d like / I’m the dark center of the universe you thought” — but they’re also leaden as an anthem. Lee takes us to the damaged end of protest and forces us to see that it’s as hollow a commodity as an obscene joke, ghetto melodrama, or razzle-dazzle minstrel show. It’s a relief when two white male stagehands, bored and lifeless, come out to change the set for the last scene.\u003c/p>\n\u003cfigure id=\"attachment_12161291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161291\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg\" alt=\"(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. They’re relaxed because magically racism disappeared. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the play continues, something strange has happened. We’re watching the same cast, but they’ve somehow unburdened themselves of race. We’re at a dinner party in a swanky apartment and everyone is pretty and swell. It’s the kind of scene Noël Coward would have enjoyed. This is what black life would look like if black life didn’t matter; if it were, say, exactly like white life. There’s still drama — drugs, suicide, murder — but it’s devoid of sting and significance.\u003c/p>\n\u003cp>Is this freedom? It qualifies as a version of freedom, I guess. By the play’s conclusion, Lee makes sure that we understand that it is. Without ruining the ending, I’ll just say that it’s a stage trick worthy of the complement: somewhat magical, and a smart end to Lee’s vicious and entertaining smackdown of all our precious conventions.\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>‘The Shipment’ runs through Saturday, Oct. 15, at The Thick House in San Francisco. For tickets and information, \u003ca href=\"http://www.crowdedfire.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Korean-American playwright and provocateur Young Jean Lee’s \u003ca href=\"http://www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Shipment\u003c/em>\u003c/a> begins with a minstrel routine. The two dancers in Crowded Fire’s excellent production, played by William Hartfield and a riotously funny Nican Robinson, aren’t that good. Or they might be good at being bad. It’s hard to tell.\u003c/p>\n\u003cp>But when they collapse on the floor in exhaustion, you think maybe “good” and “bad” aren’t what Lee’s after. The beauty of the opening is that it doesn’t catch us off-guard, so much as hint at what we’ve always known. Here is the cost of America’s racial drama: two exhausted African-American men, sprawled on stage and staring into space.\u003c/p>\n\u003cp>And so we’re off and running with \u003cem>The Shipment\u003c/em>, a work that’s part minstrel show and part drawing-room social satire. Lee, a rising star in the American theater and the foremost practitioner of great bad writing, loves faulty thinking and barren aesthetics. In our country’s ongoing racial psycho-drama, she has an abundance of available material. Careful never to fall into the trap of the exposé — the “oh my God, if we had only known” surprise of white liberal outrage — Lee chooses to embrace the methodical, frantic pace of the variety show with this work. The question becomes not what the show is about, but rather the ease with which we miss all the human pain that produces it.\u003c/p>\n\u003cfigure id=\"attachment_12161292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161292\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg\" alt=\"Howard Johnson is a shock comic in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Howard Johnson is a shock comic in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When an obscene nightclub comic (played by Howard Johnson channeling Chris Rock) takes the stage, his over-the-top offensiveness is so uninspired it comes off as sweet. Yet, like the minstrels before him, his show is a ruse. What matters is the performance of the performance. Not what he says, but what it takes to say what he says. Who is the man behind the act? How does he do it night after night? And, most importantly, at what cost?\u003c/p>\n\u003cp>\u003cem>The Shipment\u003c/em> reaches a dizzying high in stripping bare that question in the next “act” of the show when the cast performs the tale of “Omar the Rapper.” The winding narrative follows the fortunes of a young man (an effervescent Michael Wayne Turner III) who dreams of fame, loses his best friend “Sidekick Michael” to a drive-by shooting, falls in with “Drug Dealer Desmond,” ends up in jail, picks up a spiritual mentor, meets a record producer, becomes famous and then miserable, and finally finds true guidance from his dead grandmother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even moreso than the exhausted dance of the minstrels and faux outrage of the shock comic, the actual content of “Omar the Rapper,” as presented, is empty of meaning. The actors that animate them, though, are striking. The cast sloughs off and races through the lines with an off-handed aplomb, in a startling mixture of skill and boredom. As Omar’s rise and fall becomes more and more ridiculous, we start to pay attention to the only meaningful thing on stage — the performances.\u003c/p>\n\u003cp>Not the performances of the actual cast — who are all terrific — but the performances of the shadow cast, the fictional actors who take on these ridiculous, iconic roles: the black minstrels, the black comic, the black rapper, the black grandmother, the gay black hairdresser, the black gangster. Are they the puppet masters or the puppets? No matter how arresting the action is on stage, Lee keeps reminding us that the real action is off to the side.\u003c/p>\n\u003cp>One might say that somewhere off stage there are human beings striving for hope and dignity. But under Lee’s relentless assault on racial conventions, even dignity is a game, as the cast comes out, stares at the audience for an uncomfortable amount of time, and launches into a spiritually tinged, a cappella rendition of Modest Mouse’s “Dark Center of the Universe.”\u003c/p>\n\u003cp>Hearing white indie-rock sensitivity mixed with a we-shall-overcome African-American aesthetic makes for a sharp primer on the limitations of dignity and bearing witness. The lyrics from Modest Mouse’s Isaac Brock are not only bad — “I might disintegrate into thin air if you’d like / I’m the dark center of the universe you thought” — but they’re also leaden as an anthem. Lee takes us to the damaged end of protest and forces us to see that it’s as hollow a commodity as an obscene joke, ghetto melodrama, or razzle-dazzle minstrel show. It’s a relief when two white male stagehands, bored and lifeless, come out to change the set for the last scene.\u003c/p>\n\u003cfigure id=\"attachment_12161291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161291\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg\" alt=\"(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. They’re relaxed because magically racism disappeared. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the play continues, something strange has happened. We’re watching the same cast, but they’ve somehow unburdened themselves of race. We’re at a dinner party in a swanky apartment and everyone is pretty and swell. It’s the kind of scene Noël Coward would have enjoyed. This is what black life would look like if black life didn’t matter; if it were, say, exactly like white life. There’s still drama — drugs, suicide, murder — but it’s devoid of sting and significance.\u003c/p>\n\u003cp>Is this freedom? It qualifies as a version of freedom, I guess. By the play’s conclusion, Lee makes sure that we understand that it is. Without ruining the ending, I’ll just say that it’s a stage trick worthy of the complement: somewhat magical, and a smart end to Lee’s vicious and entertaining smackdown of all our precious conventions.\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>‘The Shipment’ runs through Saturday, Oct. 15, at The Thick House in San Francisco. For tickets and information, \u003ca href=\"http://www.crowdedfire.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Former State Legislator Tom Ammiano Blends Politics, Humor in One-Man Show",
"headTitle": "Former State Legislator Tom Ammiano Blends Politics, Humor in One-Man Show | KQED",
"content": "\u003cp>Tom Ammiano isn’t your garden-variety politician. The former state assemblyman and San Francisco district supervisor was the city’s first openly gay teacher, worked closely with Harvey Milk and has been a standup comic since 1980. Ammiano, the self-described “Mother of Gay Comedy,” has used humor as a weapon throughout his long political career. We’ll talk with him about “Mincing Words,” his new autobiographical one-man show at San Francisco’s Marsh Theater.\u003c/p>\n\u003cp>\u003ca href=\"http://themarsh.org/mincing_words/tom-ammiano/\">More Information on “Mincing Words” (TheMarsh.org)\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"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>https://soundcloud.com/kqed/the-do-list-bluegrass-hedwigs-wigs-belly-laughs\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5TCMpA5TfHc\u003c/p>\n\u003cp>\u003cstrong>Sept. 30 – Oct. 2: \u003c/strong>It’s still our favorite Cheap Thrill of the year. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> is worth every minute (or hour) it takes to get to Golden Gate Park in San Francisco, because Producer Dawn Holliday always books an esteemed and eclectic lineup of bluegrass, country, rock, gospel, blues, and pop stars. This year she’s offering Dave Alvin’s tribute to Merle Haggard, Poor Man’s Whiskey, Buddy Miller, Steve Earle, Mary Chapin Carpenter, San Pablo’s Los Cenzontles, Roseanne Cash, T-Bone Burnett, Mavis Staples, Boz Scags, and Cyndi Lauper for goodness sake, and more. All for free. Just take your bike, or public transit, and don’t forget warm clothes. Details \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bhBNlpRjdnE\u003c/p>\n\u003cp>\u003cstrong>Sept. 30:\u003c/strong> \u003ca href=\"http://www.funnyordie.com/\" target=\"_blank\" rel=\"noopener\">Funny or Die\u003c/a> is back at the Shoreline for the fourth year with its \u003ca href=\"http://www.oddballfest.com/\" target=\"_blank\" rel=\"noopener\">Oddball Comedy and Curiosity Festival\u003c/a>, and whoever you like (or hate) for the Presidency, you know they’ll get thrashed. That could be a draw in this anhedonic election year. We’re not keen on everyone in the lineup, but you can’t miss with \u003ca href=\"http://roastmastergeneral.com/\" target=\"_blank\" rel=\"noopener\">Roastmaster General\u003c/a> Jeff Ross, \u003ca href=\"http://www.iliza.com/tour\" target=\"_blank\" rel=\"noopener\">Iliza Schlesinger\u003c/a> (featured above and the star of the TV series \u003ca href=\"http://abc.go.com/shows/forever-31\" target=\"_blank\" rel=\"noopener\">Forever 31\u003c/a>), or the offbeat humor of Tom Segura.\u003cbr>\nDetails for the Oddball Comedy and Curiosity Festival at Shoreline Amphitheatre are \u003ca href=\"http://www.livenation.com/artists/129534/oddball-comedy-curiosity-festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12132078\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12132078\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-800x600.jpg\" alt=\"Tony Award winning musical Hedwig and the Angry Inch comes to San Francisco with the city's own Darren Criss as Hedwig\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-960x719.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony Award winning musical Hedwig and the Angry Inch comes to San Francisco with the city’s own Darren Criss as Hedwig \u003ccite>(Photo: Courtesy of SHNSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 2 – 30\u003c/strong>: \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Hedwig and the Angry Inch\u003c/a>\u003c/em> kicks off its national tour in San Francisco. But the big news about this musical featuring a gender-queer rock and rolling East German during the cold war, is that the two stars were born and raised in San Francisco. \u003ca href=\"https://www.facebook.com/darrencriss/\" target=\"_blank\" rel=\"noopener\">Darren Criss\u003c/a> of Glee fame is reprising his performance as Hedwig. Criss grew up in San Francisco. He told me on the phone he’s so into the character of Hedwig, and not just for the wigs and the eye glitter. “It’s one of the great roles of the American theater,” Criss said. “It is an extraordinarily grand arc of character, trying to find oneself, and the struggle of what it is to know who you are.” Criss added that his parents have been really supportive of the show business careers he and his musician brother have carved out. “It’s a big deal,” he said, “when they’re happy for you even when you’re performing in a club that smells of beer and pot.” The other connection:\u003ca href=\"http://www.lenahall.com/\" target=\"_blank\" rel=\"noopener\"> Lena Hall\u003c/a> is a graduate of the Ruth Asawa School for the Arts in San Francisco. She won a Tony as Hedwig’s husband, Yitzhak, a Jewish drag queen from Zagreb. Details for Hedwig’s run in San Francisco at the SHN Golden Gate Theatre are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o0YUdrvIWTg\u003c/p>\n\u003cp>\u003cstrong>Continuing through Jan. 15:\u003c/strong> We’re off to Jupiter’s moon Europa, now, with conceptual artist Tom Sachs. His new installation Space Program: Europa is a wacky and fascinating combination of a Japanese tea ceremony with a NASA mission. It all looks very real until you notice that his spacesuits and the 20 X 20 foot landing module are made of found materials. Sachs apparently chose YBCA as a “launch pad” because he regards it as “the punk rock institution of San Francisco.” You at least have to see the Winnebago/Mobile Quarantine Facility parked outside the YBCA galleries. There’s a nice r\u003ca href=\"https://ww2.kqed.org/arts/2016/09/22/tom-sachs-leads-space-mission-to-jupiters-europa-without-leaving-earth/\" target=\"_blank\" rel=\"noopener\">eview on our KQED Arts website,\u003c/a> and a chance to see a live performance of the mission on the closing weekend. Details \u003ca href=\"https://www.ybca.org/whats-on/space-program-europa\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bxWxXncl53U\u003c/p>\n\u003cp>\u003cstrong>Oct 3 & 4:\u003c/strong>\u003ca href=\"http://bombaestereo.com/\" target=\"_blank\" rel=\"noopener\"> Bomba Estereo\u003c/a> means stereo bomb, a slang term in Colombia for awesome. And they are just that good. This band from Bogota, founded by Simon Mejia, plays a kind of “psychedelic cumbia” that is just irrisistible. NPR’s \u003ca href=\"http://www.npr.org/2016/09/18/494382862/in-soy-yo-video-bomba-est-reo-pays-tribute-to-whats-inside-of-you\" target=\"_blank\" rel=\"noopener\">Rachel Martin interviewed Mejia a few weeks\u003c/a> ago, so check that out if you want to learn more about them. Details for their two night stand at the Independent in San Francisco on Monday and Tuesday are \u003ca href=\"http://www.theindependentsf.com/event/1271191-bomba-estereo-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>A few shoutouts:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s-K6vj12-Tc\u003c/p>\n\u003cp>\u003cstrong>Sept. 30 & Oct. 1\u003c/strong>: I’m excited about Farruquito, the beautiful and talented flamenco dancer, who’s leading a flash mob at 6pm at UN Plaza in San Francisco, and then performing tomorrow night at Herbst Theater for the Bay Area Flamenco Festival. Details \u003ca href=\"http://www.bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oMqutKBS5iE\u003c/p>\n\u003cp>\u003cstrong>Sept. 30 – Oct. 8: \u003c/strong>David wanted to shout out to the comedy troupe Killing My Lobster and its new show KML The Musical, in which the sketch group mocks musical theater from Fosse to Fiddler (and probably Hedwig too). Details \u003ca href=\"http://www.killingmylobster.com/next-up/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"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>https://soundcloud.com/kqed/the-do-list-bluegrass-hedwigs-wigs-belly-laughs\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/5TCMpA5TfHc'\n title='//www.youtube.com/embed/5TCMpA5TfHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 30 – Oct. 2: \u003c/strong>It’s still our favorite Cheap Thrill of the year. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> is worth every minute (or hour) it takes to get to Golden Gate Park in San Francisco, because Producer Dawn Holliday always books an esteemed and eclectic lineup of bluegrass, country, rock, gospel, blues, and pop stars. This year she’s offering Dave Alvin’s tribute to Merle Haggard, Poor Man’s Whiskey, Buddy Miller, Steve Earle, Mary Chapin Carpenter, San Pablo’s Los Cenzontles, Roseanne Cash, T-Bone Burnett, Mavis Staples, Boz Scags, and Cyndi Lauper for goodness sake, and more. All for free. Just take your bike, or public transit, and don’t forget warm clothes. Details \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" 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/bhBNlpRjdnE'\n title='//www.youtube.com/embed/bhBNlpRjdnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 30:\u003c/strong> \u003ca href=\"http://www.funnyordie.com/\" target=\"_blank\" rel=\"noopener\">Funny or Die\u003c/a> is back at the Shoreline for the fourth year with its \u003ca href=\"http://www.oddballfest.com/\" target=\"_blank\" rel=\"noopener\">Oddball Comedy and Curiosity Festival\u003c/a>, and whoever you like (or hate) for the Presidency, you know they’ll get thrashed. That could be a draw in this anhedonic election year. We’re not keen on everyone in the lineup, but you can’t miss with \u003ca href=\"http://roastmastergeneral.com/\" target=\"_blank\" rel=\"noopener\">Roastmaster General\u003c/a> Jeff Ross, \u003ca href=\"http://www.iliza.com/tour\" target=\"_blank\" rel=\"noopener\">Iliza Schlesinger\u003c/a> (featured above and the star of the TV series \u003ca href=\"http://abc.go.com/shows/forever-31\" target=\"_blank\" rel=\"noopener\">Forever 31\u003c/a>), or the offbeat humor of Tom Segura.\u003cbr>\nDetails for the Oddball Comedy and Curiosity Festival at Shoreline Amphitheatre are \u003ca href=\"http://www.livenation.com/artists/129534/oddball-comedy-curiosity-festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12132078\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12132078\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-800x600.jpg\" alt=\"Tony Award winning musical Hedwig and the Angry Inch comes to San Francisco with the city's own Darren Criss as Hedwig\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-960x719.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony Award winning musical Hedwig and the Angry Inch comes to San Francisco with the city’s own Darren Criss as Hedwig \u003ccite>(Photo: Courtesy of SHNSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 2 – 30\u003c/strong>: \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Hedwig and the Angry Inch\u003c/a>\u003c/em> kicks off its national tour in San Francisco. But the big news about this musical featuring a gender-queer rock and rolling East German during the cold war, is that the two stars were born and raised in San Francisco. \u003ca href=\"https://www.facebook.com/darrencriss/\" target=\"_blank\" rel=\"noopener\">Darren Criss\u003c/a> of Glee fame is reprising his performance as Hedwig. Criss grew up in San Francisco. He told me on the phone he’s so into the character of Hedwig, and not just for the wigs and the eye glitter. “It’s one of the great roles of the American theater,” Criss said. “It is an extraordinarily grand arc of character, trying to find oneself, and the struggle of what it is to know who you are.” Criss added that his parents have been really supportive of the show business careers he and his musician brother have carved out. “It’s a big deal,” he said, “when they’re happy for you even when you’re performing in a club that smells of beer and pot.” The other connection:\u003ca href=\"http://www.lenahall.com/\" target=\"_blank\" rel=\"noopener\"> Lena Hall\u003c/a> is a graduate of the Ruth Asawa School for the Arts in San Francisco. She won a Tony as Hedwig’s husband, Yitzhak, a Jewish drag queen from Zagreb. Details for Hedwig’s run in San Francisco at the SHN Golden Gate Theatre are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o0YUdrvIWTg'\n title='//www.youtube.com/embed/o0YUdrvIWTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Jan. 15:\u003c/strong> We’re off to Jupiter’s moon Europa, now, with conceptual artist Tom Sachs. His new installation Space Program: Europa is a wacky and fascinating combination of a Japanese tea ceremony with a NASA mission. It all looks very real until you notice that his spacesuits and the 20 X 20 foot landing module are made of found materials. Sachs apparently chose YBCA as a “launch pad” because he regards it as “the punk rock institution of San Francisco.” You at least have to see the Winnebago/Mobile Quarantine Facility parked outside the YBCA galleries. There’s a nice r\u003ca href=\"https://ww2.kqed.org/arts/2016/09/22/tom-sachs-leads-space-mission-to-jupiters-europa-without-leaving-earth/\" target=\"_blank\" rel=\"noopener\">eview on our KQED Arts website,\u003c/a> and a chance to see a live performance of the mission on the closing weekend. Details \u003ca href=\"https://www.ybca.org/whats-on/space-program-europa\" 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/bxWxXncl53U'\n title='//www.youtube.com/embed/bxWxXncl53U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct 3 & 4:\u003c/strong>\u003ca href=\"http://bombaestereo.com/\" target=\"_blank\" rel=\"noopener\"> Bomba Estereo\u003c/a> means stereo bomb, a slang term in Colombia for awesome. And they are just that good. This band from Bogota, founded by Simon Mejia, plays a kind of “psychedelic cumbia” that is just irrisistible. NPR’s \u003ca href=\"http://www.npr.org/2016/09/18/494382862/in-soy-yo-video-bomba-est-reo-pays-tribute-to-whats-inside-of-you\" target=\"_blank\" rel=\"noopener\">Rachel Martin interviewed Mejia a few weeks\u003c/a> ago, so check that out if you want to learn more about them. Details for their two night stand at the Independent in San Francisco on Monday and Tuesday are \u003ca href=\"http://www.theindependentsf.com/event/1271191-bomba-estereo-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>A few shoutouts:\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/s-K6vj12-Tc'\n title='//www.youtube.com/embed/s-K6vj12-Tc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 30 & Oct. 1\u003c/strong>: I’m excited about Farruquito, the beautiful and talented flamenco dancer, who’s leading a flash mob at 6pm at UN Plaza in San Francisco, and then performing tomorrow night at Herbst Theater for the Bay Area Flamenco Festival. Details \u003ca href=\"http://www.bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oMqutKBS5iE'\n title='//www.youtube.com/embed/oMqutKBS5iE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 30 – Oct. 8: \u003c/strong>David wanted to shout out to the comedy troupe Killing My Lobster and its new show KML The Musical, in which the sketch group mocks musical theater from Fosse to Fiddler (and probably Hedwig too). Details \u003ca href=\"http://www.killingmylobster.com/next-up/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most opera singers start training seriously when they’re still in pigtails and kneesocks. But one rising star in the classical singing world got a late start because she was headed for a career as a professional basketball player.\u003c/p>\n\u003cp>When \u003ca href=\"http://jnaibridgesmezzo.com/\" target=\"_blank\" rel=\"noopener\">J’Nai Bridges\u003c/a>’ pro sports ambitions suddenly fell apart following a disagreement with her team’s coach, the high school senior started focusing intently on developing her voice.\u003c/p>\n\u003cp>Now, at the age of 29, the American mezzo-soprano is performing major roles for some of the world’s most renowned companies including the Lyric Opera of Chicago, the Los Angeles Opera, and the Bavarian State Opera.\u003c/p>\n\u003cp>This season, she’s making her San Francisco Opera debut at the War Memorial Opera House as Bersi in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chenier\u003c/em>\u003c/a> — and shooting hoops in her spare time.\u003c/p>\n\u003cp>You can still catch Bridges at SF Opera this Friday, Sep. 30. But don’t worry if you miss her this time around; she’ll be back again next year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>To find out more about SF Opera’s production of \u003cem>Andrea Chenier\u003c/em>, click \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most opera singers start training seriously when they’re still in pigtails and kneesocks. But one rising star in the classical singing world got a late start because she was headed for a career as a professional basketball player.\u003c/p>\n\u003cp>When \u003ca href=\"http://jnaibridgesmezzo.com/\" target=\"_blank\" rel=\"noopener\">J’Nai Bridges\u003c/a>’ pro sports ambitions suddenly fell apart following a disagreement with her team’s coach, the high school senior started focusing intently on developing her voice.\u003c/p>\n\u003cp>Now, at the age of 29, the American mezzo-soprano is performing major roles for some of the world’s most renowned companies including the Lyric Opera of Chicago, the Los Angeles Opera, and the Bavarian State Opera.\u003c/p>\n\u003cp>This season, she’s making her San Francisco Opera debut at the War Memorial Opera House as Bersi in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chenier\u003c/em>\u003c/a> — and shooting hoops in her spare time.\u003c/p>\n\u003cp>You can still catch Bridges at SF Opera this Friday, Sep. 30. But don’t worry if you miss her this time around; she’ll be back again next year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As I was wandering through Chinatown on my way to Lenora Lee’s haunting multimedia dance piece, \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Eye of Compassion\u003c/em>\u003c/a>, I couldn’t help but feel nostalgic. I haven’t been to San Francisco’s Chinatown in years — like Fisherman’s Wharf, it seems made for tourists, not locals. But as dusk set on Grant Street and the red paper lanterns lit up, I realized how much I missed going there and how much it felt like a real neighborhood.\u003c/p>\n\u003cp>The Cameron House, the majestic brick building on Sacramento Street where the performance unfolds, was founded in 1874 to protect and shelter young Chinese women. Its architecture and the way it rests on the hill has the feel of a sanctuary. The space still functions as a Chinese-American community center and when you walk in you can’t help but be struck by both its beauty and the day-to-day business of any social service non-profit.\u003c/p>\n\u003cp>What’s funny is that the setting seems at odds with the type of immersive theater and dance performances we’re used to at San Francisco venues that most often present this type of work, such as Z Space, Yerba Buena Center for the Arts, and CounterPulse. Yet it turns out that the Cameron House’s lack of pretense allows for a slightly different kind of immersive performance, one more radically attuned to place and community. Yes, there are theatrical lights and an audience, but it feels more like a meeting than an event.\u003c/p>\n\u003cp>Lee gets up in front of the audience — the lights don’t change — and speaking from notes, relates a bit of history about the House. She warns us that the dancers will be splitting up (I saw the performance twice so that I could catch most of it), that the performance is fast, and we’d have to chase after the cast members to keep up with them.\u003c/p>\n\u003cfigure id=\"attachment_12127068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12127068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg\" alt=\"(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee's 'The Eye of Compassion' at Cameron House.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee’s ‘The Eye of Compassion’ at Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then that’s what we’re doing. Two terrified women run through the hall, and we hurry after them, or with them? It’s hard to tell. They split up: follow one and you run through the basement, hallways, and many hidden rooms of Cameron House; follow the other and you’re in an alley facing a parking lot and a 30-foot high retaining wall on which a film of the dancers running through Cameron House is projected. It’s a disconcerting effect, as if there is no temporal difference between the nightmare and the reality from which it springs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The parking lot dance is especially striking. It starts with one dancer and eventually blooms to six and looks as if the dancers are exploding out of the film and into the world. Lee prizes fluidity and static poses in her choreography. And so she simultaneously conveys a sense of escape and entrapment. When the dancers finish a series of movements, they do so with both arms straight and angled towards the horizon, and when they freeze they stand erect and grab their throats.\u003c/p>\n\u003cp>Then the dancers disperse and we’re off again. Instead of escape, we’re in the midst of trauma. In a side room off the lobby stairwell, a doctor and nurse calm a frightened woman. Here, Lee’s choreography is explosive and precise — quite a feat considering the lack of space — and catches how feral and animal a person can be when terrified. The dance between doctor and patient is one of the highlights of the evening, a celebration of the healing powers of service to and care for a community.\u003c/p>\n\u003cp>At the same time, you can follow two women up the stairs to the second floor. There, standing in the hallway between opposite bedrooms, you can watch both of them attempt to imagine different ways to freedom and psychic relief.\u003c/p>\n\u003cp>One dances with a bible, curling up on a sky blue comforter, and then springing up again to hold the book out in front of her in a series of repeated gestures. It’s rare in the Bay Area dance and performance scene, which is so enamored with transgression and disruption, to find artistically sophisticated expressions of faith.\u003c/p>\n\u003cfigure id=\"attachment_12126476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12126476 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg\" alt=\"The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance 'The Eye of Compassion' at the Cameron House.\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845.jpg 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance ‘The Eye of Compassion’ at the Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a 75-minute piece, Lee covers an impressive amount of ground: a beautiful duet on a deck with Chinatown and the bay in the background; a dance on an outside stairwell ascending three stories up; and the final section on an elevated court, framed by a chain link fence and — projected on the side of the apartment across the street — a film of the dancers submerged in water.\u003c/p>\n\u003cp>Are they drowning or free? I think mostly free, as \u003cem>The Eye of Compassion\u003c/em> begins on the ground floor, descends to the basement, and ends up floating in the sky. Though unsettling to watch the performers place their hands on their throats, more often and with greater force their arms slowly ascend from their bodies and reach towards the stars. It’s a mesmerizing ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Eye of Compassion\u003c/em> runs through Sunday, Oct. 2 at the Cameron House in San Francisco. For tickets and information please \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I was wandering through Chinatown on my way to Lenora Lee’s haunting multimedia dance piece, \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Eye of Compassion\u003c/em>\u003c/a>, I couldn’t help but feel nostalgic. I haven’t been to San Francisco’s Chinatown in years — like Fisherman’s Wharf, it seems made for tourists, not locals. But as dusk set on Grant Street and the red paper lanterns lit up, I realized how much I missed going there and how much it felt like a real neighborhood.\u003c/p>\n\u003cp>The Cameron House, the majestic brick building on Sacramento Street where the performance unfolds, was founded in 1874 to protect and shelter young Chinese women. Its architecture and the way it rests on the hill has the feel of a sanctuary. The space still functions as a Chinese-American community center and when you walk in you can’t help but be struck by both its beauty and the day-to-day business of any social service non-profit.\u003c/p>\n\u003cp>What’s funny is that the setting seems at odds with the type of immersive theater and dance performances we’re used to at San Francisco venues that most often present this type of work, such as Z Space, Yerba Buena Center for the Arts, and CounterPulse. Yet it turns out that the Cameron House’s lack of pretense allows for a slightly different kind of immersive performance, one more radically attuned to place and community. Yes, there are theatrical lights and an audience, but it feels more like a meeting than an event.\u003c/p>\n\u003cp>Lee gets up in front of the audience — the lights don’t change — and speaking from notes, relates a bit of history about the House. She warns us that the dancers will be splitting up (I saw the performance twice so that I could catch most of it), that the performance is fast, and we’d have to chase after the cast members to keep up with them.\u003c/p>\n\u003cfigure id=\"attachment_12127068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12127068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg\" alt=\"(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee's 'The Eye of Compassion' at Cameron House.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee’s ‘The Eye of Compassion’ at Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then that’s what we’re doing. Two terrified women run through the hall, and we hurry after them, or with them? It’s hard to tell. They split up: follow one and you run through the basement, hallways, and many hidden rooms of Cameron House; follow the other and you’re in an alley facing a parking lot and a 30-foot high retaining wall on which a film of the dancers running through Cameron House is projected. It’s a disconcerting effect, as if there is no temporal difference between the nightmare and the reality from which it springs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The parking lot dance is especially striking. It starts with one dancer and eventually blooms to six and looks as if the dancers are exploding out of the film and into the world. Lee prizes fluidity and static poses in her choreography. And so she simultaneously conveys a sense of escape and entrapment. When the dancers finish a series of movements, they do so with both arms straight and angled towards the horizon, and when they freeze they stand erect and grab their throats.\u003c/p>\n\u003cp>Then the dancers disperse and we’re off again. Instead of escape, we’re in the midst of trauma. In a side room off the lobby stairwell, a doctor and nurse calm a frightened woman. Here, Lee’s choreography is explosive and precise — quite a feat considering the lack of space — and catches how feral and animal a person can be when terrified. The dance between doctor and patient is one of the highlights of the evening, a celebration of the healing powers of service to and care for a community.\u003c/p>\n\u003cp>At the same time, you can follow two women up the stairs to the second floor. There, standing in the hallway between opposite bedrooms, you can watch both of them attempt to imagine different ways to freedom and psychic relief.\u003c/p>\n\u003cp>One dances with a bible, curling up on a sky blue comforter, and then springing up again to hold the book out in front of her in a series of repeated gestures. It’s rare in the Bay Area dance and performance scene, which is so enamored with transgression and disruption, to find artistically sophisticated expressions of faith.\u003c/p>\n\u003cfigure id=\"attachment_12126476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12126476 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg\" alt=\"The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance 'The Eye of Compassion' at the Cameron House.\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845.jpg 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance ‘The Eye of Compassion’ at the Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a 75-minute piece, Lee covers an impressive amount of ground: a beautiful duet on a deck with Chinatown and the bay in the background; a dance on an outside stairwell ascending three stories up; and the final section on an elevated court, framed by a chain link fence and — projected on the side of the apartment across the street — a film of the dancers submerged in water.\u003c/p>\n\u003cp>Are they drowning or free? I think mostly free, as \u003cem>The Eye of Compassion\u003c/em> begins on the ground floor, descends to the basement, and ends up floating in the sky. Though unsettling to watch the performers place their hands on their throats, more often and with greater force their arms slowly ascend from their bodies and reach towards the stars. It’s a mesmerizing ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Eye of Compassion\u003c/em> runs through Sunday, Oct. 2 at the Cameron House in San Francisco. For tickets and information please \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "California's 'Godfather of Chicano Theater' Wins National Medal of Arts",
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"content": "\u003cp>Luis Valdez, born to a family of migrant workers in Delano, California, received the \u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\">National Medal of Arts\u003c/a> last week. The writer and director of \"Zoot Suit\" and \"La Bamba\" was honored for his 50-year career of bringing Chicano and Latino culture to the American stage and screen.\u003c/p>\n\u003cp>\u003cem>The California Report’s\u003c/em> Sasha Khokha spoke to Valdez about his journey from marching with Cesar Chavez to meeting President Obama in the White House.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/284755246\" 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>\u003cstrong>Your theater company, \u003ca href=\"http://elteatrocampesino.com/\">El Teatro Campesino\u003c/a>, got its start in the 1965 farmworker grape strike in Delano in the Central Valley, where you performed skits on the back of flatbed trucks. How did theater help the farmworker movement?\u003c/strong>\u003c/p>\n\u003cp>The picket line was basically composed of people standing out in the middle of nowhere with bullhorns, talking their heads off all day long. Injecting chants and music and even some preliminary \u003cem>actos -- \u003c/em>we didn't call them skits, we called them \u003cem>actos -- \u003c/em>on top of a flatbed truck was another way to extend the power of the picket line. It could get boring to be out there for hours. Teatro helped to liven things up and to focus ideas. For me, it gave theater a whole new meaning. It wasn't just for the sake of entertainment, much less entertaining the bourgeoisie. This was for the poorest of the poor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O8QqiJesJwY\u003c/p>\n\u003cp>\u003cstrong>One of your most famous plays is \"Zoot Suit,\" the first show by a Chicano playwright to make it to Broadway, which of course turned into a major movie. Now you’re \u003ca href=\"https://www.centertheatregroup.org/tickets/mark-taper-forum/2017-18/zoot-suit/\">bringing it back\u003c/a> to the Mark Taper Forum in Los Angeles, 38 years after it premiered there. How do you think about \"Zoot Suit\" differently now? \u003c/strong>\u003c/p>\n\u003cp>\"Zoot Suit\" is like a grandfather to a lot of Latino plays. It proved that we were box office, because the play ran for a year in Los Angeles. It played to almost a half a million people. That's a phenomenal record anywhere. It brought thousands and thousands of Latinos into the theater world who had never seen theater before. I think all the regional theater companies became aware that there's a Latino audience out there and they're willing to buy tickets if the material suits them.\u003c/p>\n\u003cp>\u003cstrong>One of your newest shows, \"\u003ca href=\"https://ww2.kqed.org/forum/2016/02/25/teatro-campesino-founder-luis-valdez-brings-valley-of-the-heart-to-san-jose-stage/\">Valley of the Heart\u003c/a>,\" tells the story of the son of a Mexican farmworker who falls in love with a Japanese-American farmer’s daughter during the anti-Japanese hysteria of World War II. Their eyes meet as they pick broccoli in Cupertino, in today’s Silicon Valley. What drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>Like a lot of writers I draw from the incidents of my life. My dad took over the ranch of his Japanese employer back in 1941, in the Delano area. I thought my dad owned the place. It wasn't until after the war that I learned it was not my dad's ranch. It had belonged to a Japanese-American farmer, and he and his family were taken away and put in a concentration camp. I was 6 years old. And that shocked me, because I understood the war, but these were Americans!\u003c/p>\n\u003cp>And then in 1947, when I was 7, I met a friend who I thought was Filipino; his name was Esteban Cornejo. But it turned out his father was Mexican, and his mother was Japanese-American. They lived in this little shack, a wooden frame with cardboard for wallpaper. The thing I'll never forget is that the mother could cook both Japanese food and Mexican food like an expert. My first taste of Japanese food was at their table. And so I never forgot them, and I never forgot my friend Esteban.\u003c/p>\n\u003cp>https://youtu.be/z4EEuupp_eY?t=31s\u003c/p>\n\u003cp>\u003cstrong>You were recently named a member of the Academy of Motion Picture Arts and Sciences, which has been criticized for its lack of diversity. What will you be looking for when you’re judging the Oscars?\u003c/strong>\u003c/p>\n\u003cp>It's not just a question of the actors, although everybody thinks of the actors. No, no. You need writers, screenwriters, producers. You need people in executive positions that can give you the green light and make the thing happen. And if they're not Latinos at least they should be Latino-conscious. And that's always a struggle in Hollywood because it's a question of educating people at every level.\u003c/p>\n\u003cp>We have a ways to go. But despite the ugliness, despite the violence, despite the contradictions of the human race, I still believe in people. We now need to keep moving forward, and the arts make that possible. The arts make us more empathetic and more understanding. The way to the human mind is through the heart. And so as a playwright one of the things that I strive for is to touch the heart of the audience.\u003c/p>\n\u003cp>\u003cstrong>You just met President Obama. What did you say to him?\u003c/strong>\u003c/p>\n\u003cp>I told him that I did some commercials for him in Salinas in Spanish when he was running the first time in the primary, because I've been supporting him all these years. I told him I was proud of him, and that we're going to miss him. To me, being in the Obama White House was like a breath of fresh air. To see him so eloquent and so alive is an answer to all those years of oppression. But that oppression still exists in agriculture. Farmworkers are still wage slaves. And until we change our values, until we stop looking down our noses at the people that grow the food that we all consume, the world will not change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luis Valdez, born to a family of migrant workers in Delano, California, received the \u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\">National Medal of Arts\u003c/a> last week. The writer and director of \"Zoot Suit\" and \"La Bamba\" was honored for his 50-year career of bringing Chicano and Latino culture to the American stage and screen.\u003c/p>\n\u003cp>\u003cem>The California Report’s\u003c/em> Sasha Khokha spoke to Valdez about his journey from marching with Cesar Chavez to meeting President Obama in the White House.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/284755246&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/284755246'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Your theater company, \u003ca href=\"http://elteatrocampesino.com/\">El Teatro Campesino\u003c/a>, got its start in the 1965 farmworker grape strike in Delano in the Central Valley, where you performed skits on the back of flatbed trucks. How did theater help the farmworker movement?\u003c/strong>\u003c/p>\n\u003cp>The picket line was basically composed of people standing out in the middle of nowhere with bullhorns, talking their heads off all day long. Injecting chants and music and even some preliminary \u003cem>actos -- \u003c/em>we didn't call them skits, we called them \u003cem>actos -- \u003c/em>on top of a flatbed truck was another way to extend the power of the picket line. It could get boring to be out there for hours. Teatro helped to liven things up and to focus ideas. For me, it gave theater a whole new meaning. It wasn't just for the sake of entertainment, much less entertaining the bourgeoisie. This was for the poorest of the poor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O8QqiJesJwY'\n title='//www.youtube.com/embed/O8QqiJesJwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>One of your most famous plays is \"Zoot Suit,\" the first show by a Chicano playwright to make it to Broadway, which of course turned into a major movie. Now you’re \u003ca href=\"https://www.centertheatregroup.org/tickets/mark-taper-forum/2017-18/zoot-suit/\">bringing it back\u003c/a> to the Mark Taper Forum in Los Angeles, 38 years after it premiered there. How do you think about \"Zoot Suit\" differently now? \u003c/strong>\u003c/p>\n\u003cp>\"Zoot Suit\" is like a grandfather to a lot of Latino plays. It proved that we were box office, because the play ran for a year in Los Angeles. It played to almost a half a million people. That's a phenomenal record anywhere. It brought thousands and thousands of Latinos into the theater world who had never seen theater before. I think all the regional theater companies became aware that there's a Latino audience out there and they're willing to buy tickets if the material suits them.\u003c/p>\n\u003cp>\u003cstrong>One of your newest shows, \"\u003ca href=\"https://ww2.kqed.org/forum/2016/02/25/teatro-campesino-founder-luis-valdez-brings-valley-of-the-heart-to-san-jose-stage/\">Valley of the Heart\u003c/a>,\" tells the story of the son of a Mexican farmworker who falls in love with a Japanese-American farmer’s daughter during the anti-Japanese hysteria of World War II. Their eyes meet as they pick broccoli in Cupertino, in today’s Silicon Valley. What drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>Like a lot of writers I draw from the incidents of my life. My dad took over the ranch of his Japanese employer back in 1941, in the Delano area. I thought my dad owned the place. It wasn't until after the war that I learned it was not my dad's ranch. It had belonged to a Japanese-American farmer, and he and his family were taken away and put in a concentration camp. I was 6 years old. And that shocked me, because I understood the war, but these were Americans!\u003c/p>\n\u003cp>And then in 1947, when I was 7, I met a friend who I thought was Filipino; his name was Esteban Cornejo. But it turned out his father was Mexican, and his mother was Japanese-American. They lived in this little shack, a wooden frame with cardboard for wallpaper. The thing I'll never forget is that the mother could cook both Japanese food and Mexican food like an expert. My first taste of Japanese food was at their table. And so I never forgot them, and I never forgot my friend Esteban.\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/z4EEuupp_eY'\n title='//www.youtube.com/embed/z4EEuupp_eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You were recently named a member of the Academy of Motion Picture Arts and Sciences, which has been criticized for its lack of diversity. What will you be looking for when you’re judging the Oscars?\u003c/strong>\u003c/p>\n\u003cp>It's not just a question of the actors, although everybody thinks of the actors. No, no. You need writers, screenwriters, producers. You need people in executive positions that can give you the green light and make the thing happen. And if they're not Latinos at least they should be Latino-conscious. And that's always a struggle in Hollywood because it's a question of educating people at every level.\u003c/p>\n\u003cp>We have a ways to go. But despite the ugliness, despite the violence, despite the contradictions of the human race, I still believe in people. We now need to keep moving forward, and the arts make that possible. The arts make us more empathetic and more understanding. The way to the human mind is through the heart. And so as a playwright one of the things that I strive for is to touch the heart of the audience.\u003c/p>\n\u003cp>\u003cstrong>You just met President Obama. What did you say to him?\u003c/strong>\u003c/p>\n\u003cp>I told him that I did some commercials for him in Salinas in Spanish when he was running the first time in the primary, because I've been supporting him all these years. I told him I was proud of him, and that we're going to miss him. To me, being in the Obama White House was like a breath of fresh air. To see him so eloquent and so alive is an answer to all those years of oppression. But that oppression still exists in agriculture. Farmworkers are still wage slaves. And until we change our values, until we stop looking down our noses at the people that grow the food that we all consume, the world will not change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-a-composer-at-80-an-uncomfortable-comedy-about-race-and-a-magical-musical-world",
"title": "Cy and David's Picks: A Composer at 80, an Uncomfortable Comedy About Race, and a Magical, Musical World",
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"headTitle": "Cy and David’s Picks: A Composer at 80, an Uncomfortable Comedy About Race, and a Magical, Musical World | KQED",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/284193182″ 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\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=lxEsC8wTO6Y\u003c/p>\n\u003cp>\u003cstrong>Sept. 29:\u003c/strong> Another great American composer known for groundbreaking work in minimalism is turning 80. We mentioned Steve Reich \u003ca href=\"https://ww2.kqed.org/arts/2016/09/01/cy-and-davids-picks-an-icon-of-minimalism-a-standup-politician-and-a-cure-for-those-post-labor-day-back-to-work-blues/\" target=\"_blank\" rel=\"noopener\">a few weeks ago\u003c/a> — now it’s\u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\"> Philip Glass\u003c/a>’ turn. And you can celebrate his still-dexterous fingers as he joins four other pianists to play all 20 of Glass’ piano études. He’s working with a terrific team, including the Bay Area’s \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\"> Sarah Cahill, \u003c/a>jazz pianist \u003ca href=\"http://www.aarondiehl.com/\" target=\"_blank\" rel=\"noopener\">Aaron Diehl\u003c/a>, and Jenny Lin. Glass does a pre-show chat with Stanford Live’s executive director Chris Lorway; I hope he talks about his days driving cab in New York. Tickets for this Bing Hall Concert are scarce, so act fast. Details \u003ca href=\"https://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12104803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg\" alt=\"Richard Clifford and Derek Jacobi in 'Measure and Dido' coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Clifford and Derek Jacobi in ‘Measure and Dido’ coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State \u003ccite>(Photo: Courtesy of Folger Shakespeare Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 24 and 25\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Derek_Jacobi\" target=\"_blank\" rel=\"noopener\">Derek Jacobi \u003c/a>could have retired after making \u003cem>\u003ca href=\"http://www.pbs.org/wgbh/masterpiece/archive/39/39.html\" target=\"_blank\" rel=\"noopener\">I, Claudius\u003c/a>\u003c/em> in 1976, and people would still be talking about how good he was in that BBC series. But he’s still working (\u003ca href=\"http://www.pbs.org/program/vicious/\" target=\"_blank\" rel=\"noopener\">\u003cem>Vicious\u003c/em>\u003c/a> with Ian McKellen), and he’s the biggest star in a touring show from the Folger Shakespeare Library, a fascinating mashup of Shakespeare’s \u003cem>Measure for Measure\u003c/em> with Purcell’s opera \u003cem>Dido and Aeneas\u003c/em>. Jacobi stars with his partner \u003ca href=\"http://www.imdb.com/name/nm0166678/\" target=\"_blank\" rel=\"noopener\">Richard Clifford\u003c/a>, who also directs the show, and musicians of the Folger Consort. This is a coup for the North Bay. The \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Center\u003c/a> in Yountville gets the world premiere, Saturday. Details \u003ca href=\"http://lincolntheater.com/vbo/?page=selectevent&eid=14227&edid=0\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And then \u003ca href=\"http://gmc.sonoma.edu/events-by-date\" target=\"_blank\" rel=\"noopener\">Weill Hall \u003c/a>at Sonoma State in Rohnert Park gets the second performance. Details \u003ca href=\"http://gmc.sonoma.edu/event/3156910-shakespeare-s-400th-excerpts-from-measure-for\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w-YaWE0zu-c\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 23-Oct. 9\u003c/strong>: A musical adaptation of \u003cem>Pride and Prejudice\u003c/em>. Is Jane Austen rolling in her grave? Well, at least there are no zombies. This production from the scrappy \u003ca href=\"http://iamtheatre.org/\" target=\"_blank\" rel=\"noopener\">IAM Theatre\u003c/a> is also a chance to support a local favorite. The songs in \u003cem>Pride and Prejudice the Musical \u003c/em>are by \u003ca href=\"http://www.ritaabrams.com/\" target=\"_blank\" rel=\"noopener\">Rita Abrams\u003c/a>, the former Mill Valley schoolteacher priced out of town a few years ago, and the composer of the hit song “Mill Valley.” Details for this North American premiere are \u003ca href=\"http://www.prideandprejudicemusical.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qS2MJwmBB5Y\u003c/p>\n\u003cp>\u003cstrong>Sept. 23-25\u003c/strong>: The \u003ca href=\"http://www.dresherensemble.org/\" target=\"_blank\" rel=\"noopener\">Paul Dresher Ensemble \u003c/a>is always pushing the boundaries of music and theater. This time, they’ve enlisted percussionist \u003ca href=\"http://sfcmp.org/steven-schick/\" target=\"_blank\" rel=\"noopener\">Steven Schick \u003c/a>(artistic director for the San Francisco Contemporary Music Players) to shake and bang on a battery of one-of-a-kind instruments in what they’re calling “Schick Experiment,” directed by \u003ca href=\"http://www.rindeeckert.com/\" target=\"_blank\" rel=\"noopener\">Rinde Eckert. \u003c/a>The instruments are as expressive as Schick himself: everything from a piece of sheet metal on a pogo stick to the Hurdy Grande, the Field of Flowers, and the Peacock (a deconstructed pipe organ). The idea seems to be to have fun with sound. We radio people applaud. Details \u003ca href=\"http://www.zspace.org/schick-machine/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/18516286\u003c/p>\n\u003cp>\u003cstrong>Sept. 22-Oct 15\u003c/strong>: \u003ca href=\"http://youngjeanlee.org/\" target=\"_blank\" rel=\"noopener\">Young Jean Lee\u003c/a> wrote her play \u003cem>The Shipment\u003c/em> back in in 2007, but it feels totally fresh today. It’s about racial stereotyping in American culture, and it premiered before President Obama was inaugurated, before Black Lives matter, and before #OscarsSoWhite, yet Lee told me that she’s shocked at how little has changed since then. “It’s much more disturbing to me now than it was back then,” she says. “You know the issues that it’s addressing hurt more, because we should have gotten further by now.” Lee said she loves the dynamic of how mixed audiences (black and white) watching the show end up also watching each other, trying to gauge how to react. Maybe you should bring a friend. Details for the show’s run at \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater\u003c/a> are \u003ca href=\"//www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12104607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104607\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg\" alt=\"Richmond Art Center Celebrates its 80th Anniversary\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richmond Art Center Celebrates its 80th Anniversary \u003ccite>(Photo: Courtesy of Richmond Art Center )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23-Nov. 12\u003c/strong>: Another 80th birthday now, this time for one of the Bay Area’s best and most innovative art centers. The \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">Richmond Art Center \u003c/a>celebrates with the show \u003cem>Making Our Mark\u003c/em> by some of the great artists who’ve shown there, and their students, featuring work by \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener\">Hung Liu, \u003c/a>Christopher Brown, Squeak Carnwath, Enrique Chagoya, William T. Wiley, and more. This evening the RAC celebrates its role teaching art to thousands of local school kids, with a \u003cem>Back to School Community Celebration\u003c/em> with art-making and food. Tomorrow the \u003ca href=\"http://delsolquartet.com/\" target=\"_blank\" rel=\"noopener\">Del Sol Quartet \u003c/a>plays music by Terry Riley at 2pm — just ten bucks for that. Details for the gallery show and other goodies are \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IHyLiZTMmqg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 23\u003c/strong>: \u003ca href=\"https://deadprezblog.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a> is the duo of M1 and stic.man, and their music mixes social justice with pan-Africanism. In fact they make \u003ca href=\"http://publicenemy.com/\" target=\"_blank\" rel=\"noopener\">Public Enemy\u003c/a> look like pussy cats, with lyrics like “You wanna stop terrorists, start with U.S. imperialists.” When he was on Comedy Central, Dave Chapelle opened each episode of \u003cem>Chapelle’s Show\u003c/em> with an instrumental version of the Dead Prez song \u003ca href=\"https://www.youtube.com/watch?v=4jNyr6BJZuI\" target=\"_blank\" rel=\"noopener\">“Hip-Hop.”\u003c/a> They haven’t released an album in a while, but I’m glad they’re touring. Details for their show at the Uptown Nightclub in Oakland are \u003ca href=\"http://www.uptownnightclub.com/event/dead-prez/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/284193182″&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/284193182″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\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/lxEsC8wTO6Y'\n title='//www.youtube.com/embed/lxEsC8wTO6Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 29:\u003c/strong> Another great American composer known for groundbreaking work in minimalism is turning 80. We mentioned Steve Reich \u003ca href=\"https://ww2.kqed.org/arts/2016/09/01/cy-and-davids-picks-an-icon-of-minimalism-a-standup-politician-and-a-cure-for-those-post-labor-day-back-to-work-blues/\" target=\"_blank\" rel=\"noopener\">a few weeks ago\u003c/a> — now it’s\u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\"> Philip Glass\u003c/a>’ turn. And you can celebrate his still-dexterous fingers as he joins four other pianists to play all 20 of Glass’ piano études. He’s working with a terrific team, including the Bay Area’s \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\"> Sarah Cahill, \u003c/a>jazz pianist \u003ca href=\"http://www.aarondiehl.com/\" target=\"_blank\" rel=\"noopener\">Aaron Diehl\u003c/a>, and Jenny Lin. Glass does a pre-show chat with Stanford Live’s executive director Chris Lorway; I hope he talks about his days driving cab in New York. Tickets for this Bing Hall Concert are scarce, so act fast. Details \u003ca href=\"https://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12104803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg\" alt=\"Richard Clifford and Derek Jacobi in 'Measure and Dido' coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Clifford-and-Jacobi-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Clifford and Derek Jacobi in ‘Measure and Dido’ coming to the Napa Valley Performing Arts Center and Weill Hall at Sonoma State \u003ccite>(Photo: Courtesy of Folger Shakespeare Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 24 and 25\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Derek_Jacobi\" target=\"_blank\" rel=\"noopener\">Derek Jacobi \u003c/a>could have retired after making \u003cem>\u003ca href=\"http://www.pbs.org/wgbh/masterpiece/archive/39/39.html\" target=\"_blank\" rel=\"noopener\">I, Claudius\u003c/a>\u003c/em> in 1976, and people would still be talking about how good he was in that BBC series. But he’s still working (\u003ca href=\"http://www.pbs.org/program/vicious/\" target=\"_blank\" rel=\"noopener\">\u003cem>Vicious\u003c/em>\u003c/a> with Ian McKellen), and he’s the biggest star in a touring show from the Folger Shakespeare Library, a fascinating mashup of Shakespeare’s \u003cem>Measure for Measure\u003c/em> with Purcell’s opera \u003cem>Dido and Aeneas\u003c/em>. Jacobi stars with his partner \u003ca href=\"http://www.imdb.com/name/nm0166678/\" target=\"_blank\" rel=\"noopener\">Richard Clifford\u003c/a>, who also directs the show, and musicians of the Folger Consort. This is a coup for the North Bay. The \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Center\u003c/a> in Yountville gets the world premiere, Saturday. Details \u003ca href=\"http://lincolntheater.com/vbo/?page=selectevent&eid=14227&edid=0\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And then \u003ca href=\"http://gmc.sonoma.edu/events-by-date\" target=\"_blank\" rel=\"noopener\">Weill Hall \u003c/a>at Sonoma State in Rohnert Park gets the second performance. Details \u003ca href=\"http://gmc.sonoma.edu/event/3156910-shakespeare-s-400th-excerpts-from-measure-for\" 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/w-YaWE0zu-c'\n title='//www.youtube.com/embed/w-YaWE0zu-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 23-Oct. 9\u003c/strong>: A musical adaptation of \u003cem>Pride and Prejudice\u003c/em>. Is Jane Austen rolling in her grave? Well, at least there are no zombies. This production from the scrappy \u003ca href=\"http://iamtheatre.org/\" target=\"_blank\" rel=\"noopener\">IAM Theatre\u003c/a> is also a chance to support a local favorite. The songs in \u003cem>Pride and Prejudice the Musical \u003c/em>are by \u003ca href=\"http://www.ritaabrams.com/\" target=\"_blank\" rel=\"noopener\">Rita Abrams\u003c/a>, the former Mill Valley schoolteacher priced out of town a few years ago, and the composer of the hit song “Mill Valley.” Details for this North American premiere are \u003ca href=\"http://www.prideandprejudicemusical.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qS2MJwmBB5Y'\n title='//www.youtube.com/embed/qS2MJwmBB5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 23-25\u003c/strong>: The \u003ca href=\"http://www.dresherensemble.org/\" target=\"_blank\" rel=\"noopener\">Paul Dresher Ensemble \u003c/a>is always pushing the boundaries of music and theater. This time, they’ve enlisted percussionist \u003ca href=\"http://sfcmp.org/steven-schick/\" target=\"_blank\" rel=\"noopener\">Steven Schick \u003c/a>(artistic director for the San Francisco Contemporary Music Players) to shake and bang on a battery of one-of-a-kind instruments in what they’re calling “Schick Experiment,” directed by \u003ca href=\"http://www.rindeeckert.com/\" target=\"_blank\" rel=\"noopener\">Rinde Eckert. \u003c/a>The instruments are as expressive as Schick himself: everything from a piece of sheet metal on a pogo stick to the Hurdy Grande, the Field of Flowers, and the Peacock (a deconstructed pipe organ). The idea seems to be to have fun with sound. We radio people applaud. Details \u003ca href=\"http://www.zspace.org/schick-machine/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Sept. 22-Oct 15\u003c/strong>: \u003ca href=\"http://youngjeanlee.org/\" target=\"_blank\" rel=\"noopener\">Young Jean Lee\u003c/a> wrote her play \u003cem>The Shipment\u003c/em> back in in 2007, but it feels totally fresh today. It’s about racial stereotyping in American culture, and it premiered before President Obama was inaugurated, before Black Lives matter, and before #OscarsSoWhite, yet Lee told me that she’s shocked at how little has changed since then. “It’s much more disturbing to me now than it was back then,” she says. “You know the issues that it’s addressing hurt more, because we should have gotten further by now.” Lee said she loves the dynamic of how mixed audiences (black and white) watching the show end up also watching each other, trying to gauge how to react. Maybe you should bring a friend. Details for the show’s run at \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater\u003c/a> are \u003ca href=\"//www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12104607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12104607\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg\" alt=\"Richmond Art Center Celebrates its 80th Anniversary\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Richmond-Art-Center-Celebrates-its-80th-Anniversary.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richmond Art Center Celebrates its 80th Anniversary \u003ccite>(Photo: Courtesy of Richmond Art Center )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23-Nov. 12\u003c/strong>: Another 80th birthday now, this time for one of the Bay Area’s best and most innovative art centers. The \u003ca href=\"http://richmondartcenter.org/\" target=\"_blank\" rel=\"noopener\">Richmond Art Center \u003c/a>celebrates with the show \u003cem>Making Our Mark\u003c/em> by some of the great artists who’ve shown there, and their students, featuring work by \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener\">Hung Liu, \u003c/a>Christopher Brown, Squeak Carnwath, Enrique Chagoya, William T. Wiley, and more. This evening the RAC celebrates its role teaching art to thousands of local school kids, with a \u003cem>Back to School Community Celebration\u003c/em> with art-making and food. Tomorrow the \u003ca href=\"http://delsolquartet.com/\" target=\"_blank\" rel=\"noopener\">Del Sol Quartet \u003c/a>plays music by Terry Riley at 2pm — just ten bucks for that. Details for the gallery show and other goodies are \u003ca href=\"http://richmondartcenter.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/IHyLiZTMmqg'\n title='//www.youtube.com/embed/IHyLiZTMmqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 23\u003c/strong>: \u003ca href=\"https://deadprezblog.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a> is the duo of M1 and stic.man, and their music mixes social justice with pan-Africanism. In fact they make \u003ca href=\"http://publicenemy.com/\" target=\"_blank\" rel=\"noopener\">Public Enemy\u003c/a> look like pussy cats, with lyrics like “You wanna stop terrorists, start with U.S. imperialists.” When he was on Comedy Central, Dave Chapelle opened each episode of \u003cem>Chapelle’s Show\u003c/em> with an instrumental version of the Dead Prez song \u003ca href=\"https://www.youtube.com/watch?v=4jNyr6BJZuI\" target=\"_blank\" rel=\"noopener\">“Hip-Hop.”\u003c/a> They haven’t released an album in a while, but I’m glad they’re touring. Details for their show at the Uptown Nightclub in Oakland are \u003ca href=\"http://www.uptownnightclub.com/event/dead-prez/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We live in a world savaged by disbelief, where we’re quick to label everything a scam. So one of the strangest effects of Tom Sachs’ \u003cem>Space Program: Europa — \u003c/em>both the multimedia art installation showing at San Francisco’s Yerba Buena Center for the Arts (YBCA) through Sunday, Jan. 15, and the six-hour performance that Sachs and company undertook for the show’s opening weekend — is how it reconstitutes the possibilities of belief.\u003c/p>\n\u003cp>That it does so by constructing artifacts of a mission to Europa, Jupiter’s icy moon, as a Smithsonian style exhibition, and then re-animating that exhibition through performance, is kind of miracle. No matter how you experience Sachs’ wildly inventive take on exploration, either by roaming through the YBCA galleries or catching all or part of the accompanying performance (which the artist and his team intend to remount once again before the show closes) the message is bracing and consistent: we are creatures of belief and imagination. And these qualities compel us — sometimes vainly and foolishly, but always with joy — to wilder and wilder feats of daring.\u003c/p>\n\u003cfigure id=\"attachment_12097181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097181\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg\" alt=\"The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stand before “Mission Control Center” in Gallery Two and marvel at its “can do” futurism. Comprised of 50 television screens, a JVC boom box, and a ticking clock, it’s all you need to feel like you’re witnessing the longest human voyage in history. The same goes for the Hibachi grill in the YBCA’s bamboo garden that plays such a crucial role in piercing Europa’s icy surface (a piece in the exhibit that gives new meaning to ice sculpture); and for that matter, the majestic “Landing Excursion Module” in Gallery One, an eye-catching plywood variant on the Apollo 13 lunar module measuring over 20 feet in height and width. The line between art and equipment has never been so thin. It’s a boy scout’s path to the sublime.\u003c/p>\n\u003cp>To see Sachs and a company of at least 20 helpers, including \u003cem>Myth Busters\u003c/em>’ star Adam Savage, turn the exhibition into a performance is thrilling. Sachs prefers to call it a “demonstration”, but that word undersells the sweeping power of what he’s achieved. \u003cem>Space Program: Europa\u003c/em> has the feel of a distant memory coming to life. If the exhibition is the proof, the aftermath of one grand moment in human history, the performance of Sachs’ demonstration is the ghostly reminder of what it took to make it happen.\u003c/p>\n\u003cp>So when we enter the main performance space in Gallery Two, we’re in Mission Control just before the first manned (though both astronauts are women) flight to Europa. Three technical operators sit at the master panel, readying for blast off. Sachs paces the stage, confident and nervous. Of course, it’s all a ritual of performance: From \u003cem>Capricorn 1\u003c/em> to \u003cem>Apollo 13\u003c/em>, the space drama has always been the stuffy cousin to the backstage farce.\u003c/p>\n\u003cfigure id=\"attachment_12097185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097185\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg\" alt=\"Ready for the ordeal of a long, long flight in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ready for the ordeal of a long, long flight in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If we have lost a taste for the momentous nature of space flight, Sachs reminds us how wonderful and challenging the momentous can be, even if just a stunt. So in the quiet right before the start of the mission, the first movement of Gustav Holst’s \u003cem>The Planets\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=cXOanvv4plU\">Mars, the Bringer of Wars\u003c/a>,” roars through the speakers. And we watch on the monitors as the astronauts — in full space suit regalia — jog through the YBCA galleries towards their ship. The museum erupts into applause, the first of many spontaneous expressions of joy throughout the performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just like the production of a real mission, Sachs balances these moments of ecstasy with minute details and excruciating boredom. The most memorable section is a 40-minute (it feels longer) tour-de-force, where the astronauts drill into Europa’s frozen surface. When the drill gets stuck in the ice, it takes a pickax, a blowtorch, and the ever-handy Hibachi to save the mission. At first we watch in agony as the clumsy, gloved hands of the astronauts attempt to dislodge the drill. And then we see a bare hand enter the picture to work on the drill, too.\u003c/p>\n\u003cp>It is part of the exquisite charm of Sachs’ vision that he can maintain two fictions at once: that we are in space and that this is a production whose stars, the astronauts, are constantly aided by a backstage team — not just in mission control, but also on Europa with them, like an extra terrestrial team of Mt. Everest Sherpas. In freeing the drill, both worlds collide without comment. And yet the piece feels all the more real for it. So that when Sachs yells, “whatever you do, keep that Hibachi lit,” it becomes a serious concern for both the fiction of the mission and the actual production before us.\u003c/p>\n\u003cp>There are moments of stunning beauty: the astronauts spooning to Al Green’s “\u003ca href=\"https://www.youtube.com/watch?v=COiIC3A0ROM&list=RDCOiIC3A0ROM\">Let’s Stay Together\u003c/a>,” a tea ceremony to mark the last moments on Europa, the sharing of one last Oreo cookie, and the wild celebrations in Mission Control every time a difficult task is completed. And the pleasure comes from the simple realization that human ingenuity never stops.\u003c/p>\n\u003cfigure id=\"attachment_12097187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg\" alt=\"The astronauts perform a tea ceremony on Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The astronauts perform a tea ceremony on Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But perhaps the greatest achievement of Sachs’ performance is what he does to time. We can’t help but be aware of it: the performance is epic in length and the clock keeps on ticking. But sometimes it stops without explanation, as if in the high stakes game of space exploration and art, there are moments that just slip away, that we simply cannot catch. And then, of course, you realize that in a fundamental way this performance of \u003cem>Space Program: Europa\u003c/em> isn’t happening. We’re watching something in the present that is by the logic of the exhibition it created, already over. Even in a scam, there are so many beautiful things to believe in.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Space Program: Europa\u003c/em> is on display at Yerba Buena Center for the Arts in San Francisco through Sunday, Jan. 15. There will be one more performance of \u003cem>Space Program: Europa\u003c/em> on the closing weekend, also at YBCA. For tickets and information please \u003ca href=\"https://www.ybca.org\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in a world savaged by disbelief, where we’re quick to label everything a scam. So one of the strangest effects of Tom Sachs’ \u003cem>Space Program: Europa — \u003c/em>both the multimedia art installation showing at San Francisco’s Yerba Buena Center for the Arts (YBCA) through Sunday, Jan. 15, and the six-hour performance that Sachs and company undertook for the show’s opening weekend — is how it reconstitutes the possibilities of belief.\u003c/p>\n\u003cp>That it does so by constructing artifacts of a mission to Europa, Jupiter’s icy moon, as a Smithsonian style exhibition, and then re-animating that exhibition through performance, is kind of miracle. No matter how you experience Sachs’ wildly inventive take on exploration, either by roaming through the YBCA galleries or catching all or part of the accompanying performance (which the artist and his team intend to remount once again before the show closes) the message is bracing and consistent: we are creatures of belief and imagination. And these qualities compel us — sometimes vainly and foolishly, but always with joy — to wilder and wilder feats of daring.\u003c/p>\n\u003cfigure id=\"attachment_12097181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097181\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg\" alt=\"The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Lander-Full-v4-corrected-1-e1474436886216-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Landing Excursion Module that the Astronauts use to explore Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stand before “Mission Control Center” in Gallery Two and marvel at its “can do” futurism. Comprised of 50 television screens, a JVC boom box, and a ticking clock, it’s all you need to feel like you’re witnessing the longest human voyage in history. The same goes for the Hibachi grill in the YBCA’s bamboo garden that plays such a crucial role in piercing Europa’s icy surface (a piece in the exhibit that gives new meaning to ice sculpture); and for that matter, the majestic “Landing Excursion Module” in Gallery One, an eye-catching plywood variant on the Apollo 13 lunar module measuring over 20 feet in height and width. The line between art and equipment has never been so thin. It’s a boy scout’s path to the sublime.\u003c/p>\n\u003cp>To see Sachs and a company of at least 20 helpers, including \u003cem>Myth Busters\u003c/em>’ star Adam Savage, turn the exhibition into a performance is thrilling. Sachs prefers to call it a “demonstration”, but that word undersells the sweeping power of what he’s achieved. \u003cem>Space Program: Europa\u003c/em> has the feel of a distant memory coming to life. If the exhibition is the proof, the aftermath of one grand moment in human history, the performance of Sachs’ demonstration is the ghostly reminder of what it took to make it happen.\u003c/p>\n\u003cp>So when we enter the main performance space in Gallery Two, we’re in Mission Control just before the first manned (though both astronauts are women) flight to Europa. Three technical operators sit at the master panel, readying for blast off. Sachs paces the stage, confident and nervous. Of course, it’s all a ritual of performance: From \u003cem>Capricorn 1\u003c/em> to \u003cem>Apollo 13\u003c/em>, the space drama has always been the stuffy cousin to the backstage farce.\u003c/p>\n\u003cfigure id=\"attachment_12097185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097185\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg\" alt=\"Ready for the ordeal of a long, long flight in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Space-Capsule-e1474438282228-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ready for the ordeal of a long, long flight in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If we have lost a taste for the momentous nature of space flight, Sachs reminds us how wonderful and challenging the momentous can be, even if just a stunt. So in the quiet right before the start of the mission, the first movement of Gustav Holst’s \u003cem>The Planets\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=cXOanvv4plU\">Mars, the Bringer of Wars\u003c/a>,” roars through the speakers. And we watch on the monitors as the astronauts — in full space suit regalia — jog through the YBCA galleries towards their ship. The museum erupts into applause, the first of many spontaneous expressions of joy throughout the performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just like the production of a real mission, Sachs balances these moments of ecstasy with minute details and excruciating boredom. The most memorable section is a 40-minute (it feels longer) tour-de-force, where the astronauts drill into Europa’s frozen surface. When the drill gets stuck in the ice, it takes a pickax, a blowtorch, and the ever-handy Hibachi to save the mission. At first we watch in agony as the clumsy, gloved hands of the astronauts attempt to dislodge the drill. And then we see a bare hand enter the picture to work on the drill, too.\u003c/p>\n\u003cp>It is part of the exquisite charm of Sachs’ vision that he can maintain two fictions at once: that we are in space and that this is a production whose stars, the astronauts, are constantly aided by a backstage team — not just in mission control, but also on Europa with them, like an extra terrestrial team of Mt. Everest Sherpas. In freeing the drill, both worlds collide without comment. And yet the piece feels all the more real for it. So that when Sachs yells, “whatever you do, keep that Hibachi lit,” it becomes a serious concern for both the fiction of the mission and the actual production before us.\u003c/p>\n\u003cp>There are moments of stunning beauty: the astronauts spooning to Al Green’s “\u003ca href=\"https://www.youtube.com/watch?v=COiIC3A0ROM&list=RDCOiIC3A0ROM\">Let’s Stay Together\u003c/a>,” a tea ceremony to mark the last moments on Europa, the sharing of one last Oreo cookie, and the wild celebrations in Mission Control every time a difficult task is completed. And the pleasure comes from the simple realization that human ingenuity never stops.\u003c/p>\n\u003cfigure id=\"attachment_12097187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12097187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg\" alt=\"The astronauts perform a tea ceremony on Europa in Tom Sachs' 'Space Program: Europa' at YBCA.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tea-Ceremony-e1474437929924-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The astronauts perform a tea ceremony on Europa in Tom Sachs’ ‘Space Program: Europa’ at YBCA. \u003ccite>(Photo: Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But perhaps the greatest achievement of Sachs’ performance is what he does to time. We can’t help but be aware of it: the performance is epic in length and the clock keeps on ticking. But sometimes it stops without explanation, as if in the high stakes game of space exploration and art, there are moments that just slip away, that we simply cannot catch. And then, of course, you realize that in a fundamental way this performance of \u003cem>Space Program: Europa\u003c/em> isn’t happening. We’re watching something in the present that is by the logic of the exhibition it created, already over. Even in a scam, there are so many beautiful things to believe in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Space Program: Europa\u003c/em> is on display at Yerba Buena Center for the Arts in San Francisco through Sunday, Jan. 15. There will be one more performance of \u003cem>Space Program: Europa\u003c/em> on the closing weekend, also at YBCA. For tickets and information please \u003ca href=\"https://www.ybca.org\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shotgun Players' Clever 'Caught' Gets Caught Up in its Own Lies",
"headTitle": "Shotgun Players’ Clever ‘Caught’ Gets Caught Up in its Own Lies | KQED",
"content": "\u003cp>Lying is fun. Catching liars — that’s fun too. What’s not fun is being lied to. And getting caught in a lie, well, that can be an uncomfortable experience. The best thing about Christopher Chen’s \u003ca href=\"https://shotgunplayers.org/Online/caught\" target=\"_blank\" rel=\"noopener\">\u003cem>Caught\u003c/em>\u003c/a>, currently running at the Shotgun Players’ Ashby Stage in Berkeley, is that it’s partially about lying. Chen’s play is also about deceit and trickery. His handling of those themes can be entertaining, but they’re never as compelling as the lying, and serve to undercut a great deal of the power of the play.\u003c/p>\n\u003cp>Chen starts with a slight shift in perspective. Instead of a play, what we’re seeing is a talk in an art gallery by a dissident Chinese artist, Lin Bo. We know the talk is as fake as any play we might see, including the one before us. Still, the conceit works. Lin’s gallery lecture has the feel of truth. The politically oppressed artist — abused in his own country and celebrated in America — has a long tradition, starting with the Soviet Union and now continuing with China; think of the West’s embrace of Ai Weiwei.\u003c/p>\n\u003cp>Chen catches the way in which these presentations always slip back and forth between descriptions of torture — “I was hit with a bamboo switch and sometimes an electrified club” — and the subtle scolding of liberal audiences eager to embrace radical art and freedom: “Is this really provocative art? The answer…is no.” When Lin mentions a \u003cem>New Yorker\u003c/em> profile of him and his upcoming memoir, it’s merely the cultural frosting on a very stale cake.\u003c/p>\n\u003cp>The ease of the set up allows Chen to subtly undermine what we’re hearing. Lin talks of another dissident artist,Yu Rong, whom the authorities might have confused Lin with, and asks, “Was Yu Rong the true target all along?” The answer, of course, if you’re listening carefully or enjoy bad puns on Asian names, is yes. You, the audience members, are the target. And as the target of Chen’s puzzle box of a play, you will often be wrong.\u003c/p>\n\u003cfigure id=\"attachment_12071010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12071010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-800x450.jpg\" alt=\"Things get crazy in the offices of 'The New Yorker' as Lin Bo (Jomar Tagatac) has trouble understanding the actions of Joyce Anderson (Elissa Stebbins) and a meditating Bob Levy (Mick Mize) in 'Caught.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Things get crazy in the offices of ‘The New Yorker’ as Lin Bo (Jomar Tagatac) has trouble understanding the actions of Joyce Anderson (Elissa Stebbins) and a meditating Bob Levy (Mick Mize) in ‘Caught.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the lecture ends, the entire stage erupts into a swanky office at the \u003cem>New Yorker\u003c/em> (a stunning achievement by set designer Nina Ball) and a more traditional play appears to begin. Lin is meeting with the writer of the recent profile on him, Joyce Anderson, and her editor, Bob Levy — they just have a few questions, some details about his story that they need to clear up to feel comfortable. You always know you’re in trouble when others need to be comfortable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Director Susannah Martin, Ball, and noise architect Matt Stines create an admirable sense of distance from the action. Employing a hyper-realistic acting style, a glassed in set — that echoes and distorts the actor’s voices — they make us want to get closer to the action, to truly understand what’s going on.\u003c/p>\n\u003cp>If in the previous scene Lin is “caught” by a repressive Chinese government, here he is “caught” by the fact-checking department of the \u003cem>The New Yorker\u003c/em>, and we feel his discomfort, maybe more so than his tales of being tortured. The first two-thirds of the scene is a tense culture clash between differing views of the truth. And those differences become even more unbearable given how polite everyone tries to remain. It’s a tea party with a nasty political, cultural, and racial undercurrent.\u003c/p>\n\u003cp>This is only the first of the many tricks in Chen’s \u003cem>Caught\u003c/em>, and by far the most effective. It’s a battle over reality using competing models of theatrical realism. When the play hews to the realistic, no matter what the true story is, it’s an effective meditation on the difficulty of grasping the truth. But too often Chen veers into absurdity, both in terms of the logic of his plotting and as a theatrical style.\u003c/p>\n\u003cp>Take for example the long second and third scenes of the play. They both start in a promising manner, but then Chen takes the easy way out. So, a “fictional” post-show discussion with one of the actresses (Elissa Stebbins playing actress/curator Elissa Stebbins) and the supposed creator of the piece, Wang Min, a Chinese installation artist played by El Beh, is initially tense and funny. But Chen settles for cheap laughs. The scene, like the one before it, devolves into the absurd and plays like an overlong bit of sketch comedy.\u003c/p>\n\u003cfigure id=\"attachment_12071008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12071008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-800x450.jpg\" alt=\"(L to R) Wang Min (El Beh) steals the mike from interviewer Elissa Stebbins (Elissa Stebbins) in 'Caught.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Wang Min (El Beh) steals the mike from interviewer Elissa Stebbins (Elissa Stebbins) in ‘Caught.’ \u003ccite>(Photo: Han Pak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The issue comes to a head when Wang claims that her piece was, “first inspired by incidents of scandal involving truth and lying in the United States.” She is especially taken with Mike Daisey’s infamous 2010 solo show about labor conditions in Apple’s Chinese factories, \u003ca href=\"http://mikedaisey.blogspot.com/p/monologues.html\" target=\"_blank\" rel=\"noopener\">\u003cem>The Agony and Ecstasy of Steve Jobs\u003c/em>\u003c/a>. It’s a fascinating reference and explains a great deal of what’s wrong with Chen’s play.\u003c/p>\n\u003cp>After excerpts of Daisey’s show aired on \u003cem>This American Life\u003c/em>, a number of journalists familiar with China felt that there was something off about this supposedly true story. In a follow-up interview with host Ira Glass, Daisey admitted that he deliberately misled the \u003cem>NPR\u003c/em> fact-checkers and had embellished key details. It’s painful and awful to listen to Daisey’s ludicrous explanation\u003cstrong>s\u003c/strong> of his actions. What’s compelling, though, is how his story points to the mundane reality of truth and lies. That \u003ca href=\"http://www.thisamericanlife.org/radio-archives/episode/460/retraction?act=2\" target=\"_blank\" rel=\"noopener\">15-minute interview\u003c/a> will rattle your soul. Whereas the meta-theatrical musings of \u003cem>Caught\u003c/em> never quite get to the heart of the matter.\u003c/p>\n\u003cp>For those of you who only trust your own experiences, you should go to \u003cem>Caught\u003c/em>, listen to Daisey’s retraction, and then tell me which you think is the more compelling piece of theater.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Shotgun Players’\u003cem> Caught\u003c/em> runs through Sunday, Oct. 2 at the Ashby Stage in Berkeley and then in rep to the end of the 2016-17 season. For tickets and information please \u003ca href=\"https://shotgunplayers.org/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"excerpt": "Bay Area dramatist Christopher Chen’s play at the Shotgun Players' Ashby Stage in Berkeley puts a new spin on well-known stories surrounding the likes of dissident artist Ai Weiwei and monologist Mike Daisey. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lying is fun. Catching liars — that’s fun too. What’s not fun is being lied to. And getting caught in a lie, well, that can be an uncomfortable experience. The best thing about Christopher Chen’s \u003ca href=\"https://shotgunplayers.org/Online/caught\" target=\"_blank\" rel=\"noopener\">\u003cem>Caught\u003c/em>\u003c/a>, currently running at the Shotgun Players’ Ashby Stage in Berkeley, is that it’s partially about lying. Chen’s play is also about deceit and trickery. His handling of those themes can be entertaining, but they’re never as compelling as the lying, and serve to undercut a great deal of the power of the play.\u003c/p>\n\u003cp>Chen starts with a slight shift in perspective. Instead of a play, what we’re seeing is a talk in an art gallery by a dissident Chinese artist, Lin Bo. We know the talk is as fake as any play we might see, including the one before us. Still, the conceit works. Lin’s gallery lecture has the feel of truth. The politically oppressed artist — abused in his own country and celebrated in America — has a long tradition, starting with the Soviet Union and now continuing with China; think of the West’s embrace of Ai Weiwei.\u003c/p>\n\u003cp>Chen catches the way in which these presentations always slip back and forth between descriptions of torture — “I was hit with a bamboo switch and sometimes an electrified club” — and the subtle scolding of liberal audiences eager to embrace radical art and freedom: “Is this really provocative art? The answer…is no.” When Lin mentions a \u003cem>New Yorker\u003c/em> profile of him and his upcoming memoir, it’s merely the cultural frosting on a very stale cake.\u003c/p>\n\u003cp>The ease of the set up allows Chen to subtly undermine what we’re hearing. Lin talks of another dissident artist,Yu Rong, whom the authorities might have confused Lin with, and asks, “Was Yu Rong the true target all along?” The answer, of course, if you’re listening carefully or enjoy bad puns on Asian names, is yes. You, the audience members, are the target. And as the target of Chen’s puzzle box of a play, you will often be wrong.\u003c/p>\n\u003cfigure id=\"attachment_12071010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12071010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-800x450.jpg\" alt=\"Things get crazy in the offices of 'The New Yorker' as Lin Bo (Jomar Tagatac) has trouble understanding the actions of Joyce Anderson (Elissa Stebbins) and a meditating Bob Levy (Mick Mize) in 'Caught.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caught-4-e1473929682965.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Things get crazy in the offices of ‘The New Yorker’ as Lin Bo (Jomar Tagatac) has trouble understanding the actions of Joyce Anderson (Elissa Stebbins) and a meditating Bob Levy (Mick Mize) in ‘Caught.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the lecture ends, the entire stage erupts into a swanky office at the \u003cem>New Yorker\u003c/em> (a stunning achievement by set designer Nina Ball) and a more traditional play appears to begin. Lin is meeting with the writer of the recent profile on him, Joyce Anderson, and her editor, Bob Levy — they just have a few questions, some details about his story that they need to clear up to feel comfortable. You always know you’re in trouble when others need to be comfortable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Director Susannah Martin, Ball, and noise architect Matt Stines create an admirable sense of distance from the action. Employing a hyper-realistic acting style, a glassed in set — that echoes and distorts the actor’s voices — they make us want to get closer to the action, to truly understand what’s going on.\u003c/p>\n\u003cp>If in the previous scene Lin is “caught” by a repressive Chinese government, here he is “caught” by the fact-checking department of the \u003cem>The New Yorker\u003c/em>, and we feel his discomfort, maybe more so than his tales of being tortured. The first two-thirds of the scene is a tense culture clash between differing views of the truth. And those differences become even more unbearable given how polite everyone tries to remain. It’s a tea party with a nasty political, cultural, and racial undercurrent.\u003c/p>\n\u003cp>This is only the first of the many tricks in Chen’s \u003cem>Caught\u003c/em>, and by far the most effective. It’s a battle over reality using competing models of theatrical realism. When the play hews to the realistic, no matter what the true story is, it’s an effective meditation on the difficulty of grasping the truth. But too often Chen veers into absurdity, both in terms of the logic of his plotting and as a theatrical style.\u003c/p>\n\u003cp>Take for example the long second and third scenes of the play. They both start in a promising manner, but then Chen takes the easy way out. So, a “fictional” post-show discussion with one of the actresses (Elissa Stebbins playing actress/curator Elissa Stebbins) and the supposed creator of the piece, Wang Min, a Chinese installation artist played by El Beh, is initially tense and funny. But Chen settles for cheap laughs. The scene, like the one before it, devolves into the absurd and plays like an overlong bit of sketch comedy.\u003c/p>\n\u003cfigure id=\"attachment_12071008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12071008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-800x450.jpg\" alt=\"(L to R) Wang Min (El Beh) steals the mike from interviewer Elissa Stebbins (Elissa Stebbins) in 'Caught.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/caught-2-e1473929096761.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Wang Min (El Beh) steals the mike from interviewer Elissa Stebbins (Elissa Stebbins) in ‘Caught.’ \u003ccite>(Photo: Han Pak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The issue comes to a head when Wang claims that her piece was, “first inspired by incidents of scandal involving truth and lying in the United States.” She is especially taken with Mike Daisey’s infamous 2010 solo show about labor conditions in Apple’s Chinese factories, \u003ca href=\"http://mikedaisey.blogspot.com/p/monologues.html\" target=\"_blank\" rel=\"noopener\">\u003cem>The Agony and Ecstasy of Steve Jobs\u003c/em>\u003c/a>. It’s a fascinating reference and explains a great deal of what’s wrong with Chen’s play.\u003c/p>\n\u003cp>After excerpts of Daisey’s show aired on \u003cem>This American Life\u003c/em>, a number of journalists familiar with China felt that there was something off about this supposedly true story. In a follow-up interview with host Ira Glass, Daisey admitted that he deliberately misled the \u003cem>NPR\u003c/em> fact-checkers and had embellished key details. It’s painful and awful to listen to Daisey’s ludicrous explanation\u003cstrong>s\u003c/strong> of his actions. What’s compelling, though, is how his story points to the mundane reality of truth and lies. That \u003ca href=\"http://www.thisamericanlife.org/radio-archives/episode/460/retraction?act=2\" target=\"_blank\" rel=\"noopener\">15-minute interview\u003c/a> will rattle your soul. Whereas the meta-theatrical musings of \u003cem>Caught\u003c/em> never quite get to the heart of the matter.\u003c/p>\n\u003cp>For those of you who only trust your own experiences, you should go to \u003cem>Caught\u003c/em>, listen to Daisey’s retraction, and then tell me which you think is the more compelling piece of theater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Shotgun Players’\u003cem> Caught\u003c/em> runs through Sunday, Oct. 2 at the Ashby Stage in Berkeley and then in rep to the end of the 2016-17 season. For tickets and information please \u003ca href=\"https://shotgunplayers.org/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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.",
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"possible": {
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"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.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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