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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",
"publishDate": 1474588803,
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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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"title": "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": "\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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"description": "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. ",
"title": "Shotgun Players' Clever 'Caught' Gets Caught Up in its Own Lies | KQED",
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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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"slug": "cy-and-davids-picks-free-comedy-a-rock-and-roll-summit-and-mariachi-for-mexican-independence-day",
"title": "Cy and David's Picks: Free Comedy, a Rock and Roll Summit, and Mariachi for Mexican Independence Day",
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"headTitle": "Cy and David’s Picks: Free Comedy, a Rock and Roll Summit, and Mariachi for Mexican Independence Day | KQED",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/283091934″ 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>https://www.youtube.com/watch?v=nffe0hVnD5o\u003c/p>\n\u003cp>\u003cstrong>Sept. 17\u003c/strong>: How nice to start at the top of Mt. Tamalpais with Sound Summit, an annual concert sponsored by the \u003ca href=\"http://soundsummit.net/roots-and-branches/\" target=\"_blank\" rel=\"noopener\">Roots & Branches Conservancy\u003c/a> for the benefit of fire prevention, water conservation and visitor services on Mt. Tam. The headliners are \u003ca href=\"http://wilcoworld.net/schmilco/\" target=\"_blank\" rel=\"noopener\">Wilco\u003c/a>, fresh from a stint at the Fillmore, plus \u003ca href=\"http://www.loslobos.org/site/\" target=\"_blank\" rel=\"noopener\">Los Lobos\u003c/a>, the Stone Foxes, and Bill Frisell doing his album \u003cem>Guitar in the Space Age\u003c/em>, which ought to sound very cool in the Mountain Theater around 4000 feet up. Bring a cushion and warm clothes. Details \u003ca href=\"http://soundsummit.net/info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12073247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12073247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg\" alt=\"Nick Cave's soundsuits in the work 'Drive By'\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Cave’s soundsuits in the work ‘Drive By’ \u003ccite>(Photo: James Prinz/courtesy of Jack Shainman Gallery and the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 14 – Aug. 14, 2017\u003c/strong>: The Anderson Collection at Stanford is hosting a show by the boundary-pushing Nick Cave, an African American artist who makes funny sculptures that are like giant, glittery sock pockets decorated with beads, buttons, sequins, and human hair. Sometimes he puts dancers in the suits (Cave trained with Alvin Ailey) and calls it performance art. Whatever you call it, it’s very cool stuff and very worth a visit to Stanford. Both the Anderson Collection and the Cantor are always free, so it’s one of our Cheap Thrills this week.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x196SS9Cl58\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept 16 & 17\u003c/strong>:\u003ca href=\"http://angelicasllc.com/\" target=\"_blank\" rel=\"noopener\"> Angelica’s in Redwood City\u003c/a> is a kind of throwback, a supper club where you can go for dinner and a show. With help from Redwood City, they’re trying something ambitious these next two days in celebration of Mexican Independence Day (Sept. 16), a Mariachi Festival with \u003ca href=\"https://www.facebook.com/pages/Coro-Redes-Y-Cantos-de-Chapala/103881039701283\" target=\"_blank\" rel=\"noopener\">Coro Redes Y Cantos de Chapala\u003c/a>, a chorus of men and women from Jalisco in Mexico, and Mariachi Los Reyes de Los Angeles (mariachi bravado). The \u003cem>Chronicle\u003c/em> featured a s\u003ca href=\"http://www.sfchronicle.com/music/article/Making-the-case-for-mariachi-9208635.php\" target=\"_blank\" rel=\"noopener\">pread on local mariachi in the pink section\u003c/a> a few days ago, if you want to learn more. Details for Angelica’s Mariachi Festival are \u003ca href=\"http://angelicasllc.com/event.cfm?id=244876&cart\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12073442 size-medium aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1920x1273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Sept. 2 – Oct. 2\u003c/strong>: \u003cem>Dear Master\u003c/em> was the play that gave birth to the Aurora Theater, now celebrating its 25th season. Local actor Barbara Oliver was looking for show in which she could play something other than a granny or nanny, and she worked with author Dorothy Bryant to create a play out of the letters about politics, life and art between Gustave Flaubert and the cross-dressing proto-feminist George Sand. Kimberly King and Michael Ray Wisely play the authors in this new production. It’s not really a romantic tale. Sand was 20 years older, and they never met. But director Joy Carlin told me audiences are loving it. “It seems to pack a wallop, it’s just people reading letters, but people seem to get very emotional over it.” Details \u003ca href=\"https://www.auroratheatre.org/index.php?\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073446\" class=\"wp-caption aligncenter\" style=\"max-width: 476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12073446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png\" alt=\"Robert Hawkins entertains the Comedy Day audience\" width=\"476\" height=\"286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-400x240.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-1180x709.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-960x577.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2.png 1200w\" sizes=\"(max-width: 476px) 100vw, 476px\">\u003cfigcaption class=\"wp-caption-text\">Robert Hawkins entertains the Comedy Day audience \u003ccite>(Photo: Dan Dion/Comedy Day)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 18\u003c/strong>: Comedy Day is back in Golden Gate Park. This free (Cheap Thrill) event is a chance to see veterans of the Bay Area comedy scene and new ones you haven’t heard of yet. Johnny Steele, Will Durst, Donald Lacey, Natasha Muse, Loren Kraut, Kabir Kabeezy Singh, Joshua Raoul Brody, (retired politico) Tom Ammiano, and a bunch more are scheduled to perform. The wine is from the Pat Paulson Vineyards, founded by the late Pat Paulson, a regular decades ago on the Smothers Brothers and a joke candidate for President in 1968. So it’s bound to be have an amusing but pointedly satirical bouquet. Details for the Sharon Meadows show on Sunday from noon to 5pm are \u003ca href=\"http://comedyday.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4KbPdFZ24F4\u003c/p>\n\u003cp>\u003cstrong>Sept 17\u003c/strong>: \u003ca href=\"http://www.xeniarubinos.com/\" target=\"_blank\" rel=\"noopener\">Xenia Rubinos \u003c/a>was walking around her neighborhood in Brooklyn one day when she noticed that no matter the restaurant — Chinese takeout, Italian, French — they all had Latino chefs and dishwashers working the back of the house. (She sings the song on her new album \u003cem>Black Terry Cat\u003c/em> and during the NPR Tiny Desk Concert above). The social critique is wrapped in a tight, funky arrangement, summing up the appeal of this Cuba Rican singer: she writes danceable tunes that make you think. Made to order for a KQED Arts audience. Details of her Saturday show at the Independent are \u003ca href=\"http://www.xeniarubinos.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J8oozqllph4\u003c/p>\n\u003cp>\u003cstrong>Sept. 21 – 25\u003c/strong>: T\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\">he Berkeley Old time Music Convention\u003c/a> is both a conference for the artists and a chance for music lovers to hear some of the best in bluegrass and traditional music. There are workshops and concerts, plus clogging with Berkeley’s \u003ca href=\"http://www.evieladin.com/\" target=\"_blank\" rel=\"noopener\">Evie Ladin\u003c/a>. That’s worth it alone. Many events are at Berkeley’s \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight and Salvage \u003c/a>are free. Details\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073637\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12073637\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg\" alt=\"Art, films, and native gardens at Vallejo's Visions of the Wild \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Art, films, and native gardens at Vallejo’s Visions of the Wild \u003ccite>(Photo: Courtesy of Visions of the Wild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 15 – 18\u003c/strong>: You only have to go to Vallejo to find wilderness this week. \u003ca href=\"http://visionsofthewild.org//\" target=\"_blank\" rel=\"noopener\">Visions of the Wild\u003c/a> is in its third year of filling Vallejo gardens, theaters and galleries with film, art shows, and speakers. Plus there’s field trips and a chance to join in \u003ca href=\"https://www.savesfbay.org/secure/zero?tfa_32=GAD_POL_zeroCCD&gclid=CIGQuL64ks8CFUqSfgodNH0Mdw\" target=\"_blank\" rel=\"noopener\">Coastal Cleanup Day\u003c/a> (keep that plastic out of the Bay). Nature sound mensch \u003ca href=\"http://www.wildsanctuary.com/\" target=\"_blank\" rel=\"noopener\">Bernie Krause\u003c/a> will speak, as well \u003ca href=\"https://ww2.kqed.org/science/about/\" target=\"_blank\" rel=\"noopener\">KQED Science Editor Craig Miller\u003c/a>. And most events are free. Details \u003ca href=\"http://visionsofthewild.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
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"title": "Cy and David's Picks: Free Comedy, a Rock and Roll Summit, and Mariachi for Mexican Independence Day | KQED",
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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/283091934″&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/283091934″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\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/nffe0hVnD5o'\n title='//www.youtube.com/embed/nffe0hVnD5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 17\u003c/strong>: How nice to start at the top of Mt. Tamalpais with Sound Summit, an annual concert sponsored by the \u003ca href=\"http://soundsummit.net/roots-and-branches/\" target=\"_blank\" rel=\"noopener\">Roots & Branches Conservancy\u003c/a> for the benefit of fire prevention, water conservation and visitor services on Mt. Tam. The headliners are \u003ca href=\"http://wilcoworld.net/schmilco/\" target=\"_blank\" rel=\"noopener\">Wilco\u003c/a>, fresh from a stint at the Fillmore, plus \u003ca href=\"http://www.loslobos.org/site/\" target=\"_blank\" rel=\"noopener\">Los Lobos\u003c/a>, the Stone Foxes, and Bill Frisell doing his album \u003cem>Guitar in the Space Age\u003c/em>, which ought to sound very cool in the Mountain Theater around 4000 feet up. Bring a cushion and warm clothes. Details \u003ca href=\"http://soundsummit.net/info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12073247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12073247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg\" alt=\"Nick Cave's soundsuits in the work 'Drive By'\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Cave’s soundsuits in the work ‘Drive By’ \u003ccite>(Photo: James Prinz/courtesy of Jack Shainman Gallery and the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 14 – Aug. 14, 2017\u003c/strong>: The Anderson Collection at Stanford is hosting a show by the boundary-pushing Nick Cave, an African American artist who makes funny sculptures that are like giant, glittery sock pockets decorated with beads, buttons, sequins, and human hair. Sometimes he puts dancers in the suits (Cave trained with Alvin Ailey) and calls it performance art. Whatever you call it, it’s very cool stuff and very worth a visit to Stanford. Both the Anderson Collection and the Cantor are always free, so it’s one of our Cheap Thrills this week.\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/x196SS9Cl58'\n title='//www.youtube.com/embed/x196SS9Cl58'\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 16 & 17\u003c/strong>:\u003ca href=\"http://angelicasllc.com/\" target=\"_blank\" rel=\"noopener\"> Angelica’s in Redwood City\u003c/a> is a kind of throwback, a supper club where you can go for dinner and a show. With help from Redwood City, they’re trying something ambitious these next two days in celebration of Mexican Independence Day (Sept. 16), a Mariachi Festival with \u003ca href=\"https://www.facebook.com/pages/Coro-Redes-Y-Cantos-de-Chapala/103881039701283\" target=\"_blank\" rel=\"noopener\">Coro Redes Y Cantos de Chapala\u003c/a>, a chorus of men and women from Jalisco in Mexico, and Mariachi Los Reyes de Los Angeles (mariachi bravado). The \u003cem>Chronicle\u003c/em> featured a s\u003ca href=\"http://www.sfchronicle.com/music/article/Making-the-case-for-mariachi-9208635.php\" target=\"_blank\" rel=\"noopener\">pread on local mariachi in the pink section\u003c/a> a few days ago, if you want to learn more. Details for Angelica’s Mariachi Festival are \u003ca href=\"http://angelicasllc.com/event.cfm?id=244876&cart\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12073442 size-medium aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1920x1273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Sept. 2 – Oct. 2\u003c/strong>: \u003cem>Dear Master\u003c/em> was the play that gave birth to the Aurora Theater, now celebrating its 25th season. Local actor Barbara Oliver was looking for show in which she could play something other than a granny or nanny, and she worked with author Dorothy Bryant to create a play out of the letters about politics, life and art between Gustave Flaubert and the cross-dressing proto-feminist George Sand. Kimberly King and Michael Ray Wisely play the authors in this new production. It’s not really a romantic tale. Sand was 20 years older, and they never met. But director Joy Carlin told me audiences are loving it. “It seems to pack a wallop, it’s just people reading letters, but people seem to get very emotional over it.” Details \u003ca href=\"https://www.auroratheatre.org/index.php?\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073446\" class=\"wp-caption aligncenter\" style=\"max-width: 476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12073446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png\" alt=\"Robert Hawkins entertains the Comedy Day audience\" width=\"476\" height=\"286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-400x240.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-1180x709.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-960x577.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2.png 1200w\" sizes=\"(max-width: 476px) 100vw, 476px\">\u003cfigcaption class=\"wp-caption-text\">Robert Hawkins entertains the Comedy Day audience \u003ccite>(Photo: Dan Dion/Comedy Day)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 18\u003c/strong>: Comedy Day is back in Golden Gate Park. This free (Cheap Thrill) event is a chance to see veterans of the Bay Area comedy scene and new ones you haven’t heard of yet. Johnny Steele, Will Durst, Donald Lacey, Natasha Muse, Loren Kraut, Kabir Kabeezy Singh, Joshua Raoul Brody, (retired politico) Tom Ammiano, and a bunch more are scheduled to perform. The wine is from the Pat Paulson Vineyards, founded by the late Pat Paulson, a regular decades ago on the Smothers Brothers and a joke candidate for President in 1968. So it’s bound to be have an amusing but pointedly satirical bouquet. Details for the Sharon Meadows show on Sunday from noon to 5pm are \u003ca href=\"http://comedyday.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/4KbPdFZ24F4'\n title='//www.youtube.com/embed/4KbPdFZ24F4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept 17\u003c/strong>: \u003ca href=\"http://www.xeniarubinos.com/\" target=\"_blank\" rel=\"noopener\">Xenia Rubinos \u003c/a>was walking around her neighborhood in Brooklyn one day when she noticed that no matter the restaurant — Chinese takeout, Italian, French — they all had Latino chefs and dishwashers working the back of the house. (She sings the song on her new album \u003cem>Black Terry Cat\u003c/em> and during the NPR Tiny Desk Concert above). The social critique is wrapped in a tight, funky arrangement, summing up the appeal of this Cuba Rican singer: she writes danceable tunes that make you think. Made to order for a KQED Arts audience. Details of her Saturday show at the Independent are \u003ca href=\"http://www.xeniarubinos.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/J8oozqllph4'\n title='//www.youtube.com/embed/J8oozqllph4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 21 – 25\u003c/strong>: T\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\">he Berkeley Old time Music Convention\u003c/a> is both a conference for the artists and a chance for music lovers to hear some of the best in bluegrass and traditional music. There are workshops and concerts, plus clogging with Berkeley’s \u003ca href=\"http://www.evieladin.com/\" target=\"_blank\" rel=\"noopener\">Evie Ladin\u003c/a>. That’s worth it alone. Many events are at Berkeley’s \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight and Salvage \u003c/a>are free. Details\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073637\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12073637\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg\" alt=\"Art, films, and native gardens at Vallejo's Visions of the Wild \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Art, films, and native gardens at Vallejo’s Visions of the Wild \u003ccite>(Photo: Courtesy of Visions of the Wild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 15 – 18\u003c/strong>: You only have to go to Vallejo to find wilderness this week. \u003ca href=\"http://visionsofthewild.org//\" target=\"_blank\" rel=\"noopener\">Visions of the Wild\u003c/a> is in its third year of filling Vallejo gardens, theaters and galleries with film, art shows, and speakers. Plus there’s field trips and a chance to join in \u003ca href=\"https://www.savesfbay.org/secure/zero?tfa_32=GAD_POL_zeroCCD&gclid=CIGQuL64ks8CFUqSfgodNH0Mdw\" target=\"_blank\" rel=\"noopener\">Coastal Cleanup Day\u003c/a> (keep that plastic out of the Bay). Nature sound mensch \u003ca href=\"http://www.wildsanctuary.com/\" target=\"_blank\" rel=\"noopener\">Bernie Krause\u003c/a> will speak, as well \u003ca href=\"https://ww2.kqed.org/science/about/\" target=\"_blank\" rel=\"noopener\">KQED Science Editor Craig Miller\u003c/a>. And most events are free. Details \u003ca href=\"http://visionsofthewild.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fifty years ago this month, the Bayview-Hunter’s Point District exploded in \u003ca href=\"http://sfbayview.com/2016/07/50-years-since-the-1966-hunters-point-uprising-and-black-lives-still-dont-matter/\" target=\"_blank\" rel=\"noopener\">three days of protests\u003c/a> after a white police officer shot a 16-year-old black man in the back. The governor called in the National Guard to patrol the mostly African-American neighborhood, and people holed up in the \u003ca href=\"http://www.bvoh.org/\" target=\"_blank\" rel=\"noopener\">Bayview Opera House \u003c/a>on Third Street.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/283106211″ 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\u003cfigure id=\"attachment_12072864\" class=\"wp-caption alignright\" style=\"max-width: 396px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12072864 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-396x600.jpg\" alt=\"The Student Non-Violent Coordinating Committee coverage of the riots following the shooting of Matthew Johnson in September 1966, during which Bayview residents sought shelter from the National Guard and police in the Bayview Opera House\" width=\"396\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-396x600.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-400x606.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-768x1163.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-779x1180.jpg 779w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-1920x2907.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-1180x1787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-960x1454.jpg 960w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003cfigcaption class=\"wp-caption-text\">The Student Non-Violent Coordinating Committee coverage of the riots following the shooting of Matthew Johnson in September 1966, during which Bayview residents sought shelter from the National Guard and police in the Bayview Opera House.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.thebayinstitute.org/page/detail/283\" target=\"_blank\" rel=\"noopener\">Angelique Tompkins \u003c/a>remembers: “The building became a sanctuary at that time.”\u003c/p>\n\u003cp>The Tompkins family is rooted five generations deep in the Bayview. Angelique is a community activist who’s worked for years to revive the opera house as a place to meet and debate issues like \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> or gentrification.\u003c/p>\n\u003cp>“Talking about what was resistance,” Tompkins said recently while sitting in the Victorian jewel box of a theater. “What was protest, what is resilience in this community, and what we see now as another period of renaissance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That new renaissance begins when the opera house, originally built in 1888, holds its grand reopening Saturday, Sept. 17, after a $5.7 million renovation, paid for by the city and nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_12072865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12072865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/001-800x495.jpg\" alt=\"Architect Paul Cooper, Executive Director Barbara Ockel, and activist Angelique Tompkins on the stage at the Bayview Opera House\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Paul Cooper, Executive Director Barbara Ockel, and activist Angelique Tompkins on the stage at the Bayview Opera House \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Executive Director Barbara Ockel says that starting next week, the opera house will welcome kids back for after-school arts programs in dance and music, and concerts as well.\u003c/p>\n\u003cp>“What was always the most wonderful aspect of working here was the sound of the kids,” Ockel said.\u003c/p>\n\u003cp>“What we heard from the community was that they wanted a heart for the community,” said Paul Cooper of TEF Design. Cooper worked with the African-American landscape designer Walter Hood to preserve the opera house’s architecture as well as improve its accessibility. Hood set up a rocking chair on the porch for listening sessions in which he took suggestions on the redesign from local residents.\u003c/p>\n\u003cp>“Our job,” Cooper said as he showed me around, “was to listen to those ideas and harness all the energy that is already here in the community and build on that.”\u003c/p>\n\u003cp>Cooper oversaw the almost invisible seismic upgrades to the building, and making it \u003ca href=\"http://www.interactiveaccessibility.com/services/ada-compliance\" target=\"_blank\" rel=\"noopener\">ADA compliant\u003c/a>. Outside, there’s a new walkway, outdoor theater, drought tolerant plantings and a patch of green.\u003c/p>\n\u003cfigure id=\"attachment_12072866\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12072866 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House.jpg\" alt=\"Outdoor theater at the Bayview Opera House\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Outdoor theater at the Bayview Opera House \u003ccite>(Photo: Anne Hamersky/Bay View Opera House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So now where we had a really ugly parking lot where people were working on their cars,” said Ockel, “we have a beautiful lawn for the kids to play on.”\u003c/p>\n\u003cp>The reopening party Saturday will feature performances by Mary Booker, who has taught theater and poetry in the Bayview for decades; the Prescott Circus Theatre, and PUSH Dance Company, with its production about the slow cleanup of toxic waste at the Hunters Point shipyards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After all the work, though, Ockel notes the opera house still needs work. “The paint is peeling outside, and we need to upgrade the stage lighting and sound, which date back to the 1970’s.” So Ockel says the fundraising will continue.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago this month, the Bayview-Hunter’s Point District exploded in \u003ca href=\"http://sfbayview.com/2016/07/50-years-since-the-1966-hunters-point-uprising-and-black-lives-still-dont-matter/\" target=\"_blank\" rel=\"noopener\">three days of protests\u003c/a> after a white police officer shot a 16-year-old black man in the back. The governor called in the National Guard to patrol the mostly African-American neighborhood, and people holed up in the \u003ca href=\"http://www.bvoh.org/\" target=\"_blank\" rel=\"noopener\">Bayview Opera House \u003c/a>on Third Street.\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/283106211″&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/283106211″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_12072864\" class=\"wp-caption alignright\" style=\"max-width: 396px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12072864 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-396x600.jpg\" alt=\"The Student Non-Violent Coordinating Committee coverage of the riots following the shooting of Matthew Johnson in September 1966, during which Bayview residents sought shelter from the National Guard and police in the Bayview Opera House\" width=\"396\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-396x600.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-400x606.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-768x1163.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-779x1180.jpg 779w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-1920x2907.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-1180x1787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Bay-View-1966-1-960x1454.jpg 960w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003cfigcaption class=\"wp-caption-text\">The Student Non-Violent Coordinating Committee coverage of the riots following the shooting of Matthew Johnson in September 1966, during which Bayview residents sought shelter from the National Guard and police in the Bayview Opera House.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.thebayinstitute.org/page/detail/283\" target=\"_blank\" rel=\"noopener\">Angelique Tompkins \u003c/a>remembers: “The building became a sanctuary at that time.”\u003c/p>\n\u003cp>The Tompkins family is rooted five generations deep in the Bayview. Angelique is a community activist who’s worked for years to revive the opera house as a place to meet and debate issues like \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> or gentrification.\u003c/p>\n\u003cp>“Talking about what was resistance,” Tompkins said recently while sitting in the Victorian jewel box of a theater. “What was protest, what is resilience in this community, and what we see now as another period of renaissance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That new renaissance begins when the opera house, originally built in 1888, holds its grand reopening Saturday, Sept. 17, after a $5.7 million renovation, paid for by the city and nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_12072865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12072865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/001-800x495.jpg\" alt=\"Architect Paul Cooper, Executive Director Barbara Ockel, and activist Angelique Tompkins on the stage at the Bayview Opera House\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Paul Cooper, Executive Director Barbara Ockel, and activist Angelique Tompkins on the stage at the Bayview Opera House \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Executive Director Barbara Ockel says that starting next week, the opera house will welcome kids back for after-school arts programs in dance and music, and concerts as well.\u003c/p>\n\u003cp>“What was always the most wonderful aspect of working here was the sound of the kids,” Ockel said.\u003c/p>\n\u003cp>“What we heard from the community was that they wanted a heart for the community,” said Paul Cooper of TEF Design. Cooper worked with the African-American landscape designer Walter Hood to preserve the opera house’s architecture as well as improve its accessibility. Hood set up a rocking chair on the porch for listening sessions in which he took suggestions on the redesign from local residents.\u003c/p>\n\u003cp>“Our job,” Cooper said as he showed me around, “was to listen to those ideas and harness all the energy that is already here in the community and build on that.”\u003c/p>\n\u003cp>Cooper oversaw the almost invisible seismic upgrades to the building, and making it \u003ca href=\"http://www.interactiveaccessibility.com/services/ada-compliance\" target=\"_blank\" rel=\"noopener\">ADA compliant\u003c/a>. Outside, there’s a new walkway, outdoor theater, drought tolerant plantings and a patch of green.\u003c/p>\n\u003cfigure id=\"attachment_12072866\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12072866 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House.jpg\" alt=\"Outdoor theater at the Bayview Opera House\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Outdoor-theater-at-the-Bay-View-Opera-House-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Outdoor theater at the Bayview Opera House \u003ccite>(Photo: Anne Hamersky/Bay View Opera House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So now where we had a really ugly parking lot where people were working on their cars,” said Ockel, “we have a beautiful lawn for the kids to play on.”\u003c/p>\n\u003cp>The reopening party Saturday will feature performances by Mary Booker, who has taught theater and poetry in the Bayview for decades; the Prescott Circus Theatre, and PUSH Dance Company, with its production about the slow cleanup of toxic waste at the Hunters Point shipyards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After all the work, though, Ockel notes the opera house still needs work. “The paint is peeling outside, and we need to upgrade the stage lighting and sound, which date back to the 1970’s.” So Ockel says the fundraising will continue.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>UPDATED:\u003c/b> Sept. 15, 11:30am\u003c/p>\n\u003cp>President Barack Obama will honor El Teatro Campesino co-founder Luis Valdez as well as actors Mel Brooks and Morgan Freeman with the 2015 National Medal of Arts, the White House said Wednesday.\u003c/p>\n\u003cp>The artists and other leading creative figures have been invited to receive the medal at a White House ceremony on Sept. 22. First lady Michelle Obama also planned to attend.\u003c/p>\n\u003cp>[contextly_sidebar id=”a51rrlb7PJB37KwrXq7jVvtNtgbzK0J6″]\u003c/p>\n\u003cp>\u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\" target=\"_blank\" rel=\"noopener\">The announcement\u003c/a> stated that Valdez was being honored for “bringing Chicano culture to American drama.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As a playwright, actor, writer, and director, he illuminates the human spirit in the face of social injustice through award-winning stage, film, and television productions,” the statement read.\u003c/p>\n\u003cp>After learning the news, Valdez released this statement:\u003c/p>\n\u003cblockquote>\u003cp>I am honored to receive this recognition from President Obama and the National Council of the Arts. I share it with the countless artists who have created El Teatro Campesino over the last fifty years.\u003c/p>\u003c/blockquote>\n\u003cp>The White House said Brooks was being honored for “a lifetime of making the world laugh.” The actor, director, writer and musician is one of the few artists to have won an Oscar, an Emmy, a Tony and a Grammy.\u003c/p>\n\u003cp>Freeman will be honored for his work as an actor, director and narrator.\u003c/p>\n\u003cp>“His iconic stage and screen performances have brought to life characters from the whole spectrum of the human experience, moving audiences around the world, and influencing countless young artists,” the White House said in a statement.\u003c/p>\n\u003cp>Other winners this year include composer Philip Glass, actress and singer Audra McDonald, author Sandra Cisneros and painter Jack Whitten. Musician Santiago Jimenez Jr. and playwright Moises Kaufman are also on the list.\u003c/p>\n\u003cp>The White House also announced that celebrity chef Jose Andres is among the 2015 recipients of the National Humanities Medal. So are jazz legend Wynton Marsalis, public radio host Terry Gross and author James McBride.\u003c/p>\n\u003cp>Others receiving the National Medal of Arts:\u003c/p>\n\u003cp>— Record producer and songwriter Berry Gordy\u003c/p>\n\u003cp>— Dancer and choreographer Ralph Lemon\u003c/p>\n\u003cp>— The Eugene O’Neill Theater Center\u003c/p>\n\u003cp>Others receiving the National Humanities Medal:\u003c/p>\n\u003cp>— Author Rudolfo Anaya\u003c/p>\n\u003cp>— Author Louis Menand\u003c/p>\n\u003cp>— Author Ron Chernow\u003c/p>\n\u003cp>— Prison University Project, Higher Education Program\u003c/p>\n\u003cp>— Physician and author Abraham Verghese\u003c/p>\n\u003cp>— Historian and author Elaine Pagels\u003c/p>\n\u003cp>— Journalist and author Isabel Wilkerson\u003c/p>\n\u003cp>— Poet Louise Gluck\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s Kevin L. Jones contributed to this report.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cp style=\"color: #000000\">\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>We've got five pairs of tickets to give away to their \u003ca href=\"https://themoth.org/events/busted-berkeley\" target=\"_blank\">Wednesday, October 12 StorySLAM \u003c/a>(theme: \"busted\") at \u003ca href=\"http://www.freightandsalvage.org/\" target=\"_blank\">Freight and Salvage in Berkeley\u003c/a>! \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of winning them, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"busted\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select five winners for a pair of tickets (worth $16 per pair.) \u003cstrong>Deadline to enter is Sunday, October 9 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/results?eventLocations=6431&typesOfEvents=&eventDate=\" target=\"_blank\">The Moth Live\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 6.30pm, Wednesday, October 12\u003cbr>\n\u003c/b>\u003ca href=\"http://www.thefreight.org/\" target=\"_blank\">\u003cstrong>Freight & Salvage\u003c/strong>\u003c/a>\u003cbr>\n\u003cstrong>2020 Addison Street, \u003c/strong>\u003cstrong>Berkeley, CA 94704\u003c/strong>\u003cbr>\n\u003cstrong>(510) 644-2020\u003c/strong>\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>[soundcloud url=”https://api.soundcloud.com/tracks/282023539″ 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\u003cfigure id=\"attachment_12041713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041713\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg\" alt=\"21 year old Jacob Collier debuts at the Monterey Jazz Festival\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-400x232.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">21-year-old Jacob Collier debuts at the Monterey Jazz Festival \u003ccite>(Photo: Greg Gorman/Monterey Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 16-18:\u003c/strong> The Monterey Jazz Festival turns 59, the longest continuously-running jazz fest in the world, and the organizers are keeping it as fresh as ever. Along with such exalted names as Wayne Shorter, Gregory Porter, Joshua Redman and Cecile McLorin Salvant they’ve booked mulit-instrumentalist \u003ca href=\"http://www.jacobcollier.co.uk/\" target=\"_blank\" rel=\"noopener\">Jacob Collier,\u003c/a> a 21-year-old whiz kid and protege of \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Quincy Jones\u003c/a>, who is blowing minds in the world of jazz and pop with his four-and-a-half octave range, looping skills and great songwriting. Christian McBride also hosts and directs a well-deserved tribute to Jones. And Berkeley singer and flutist Elena Pinderhughes makes her debut as well. Details for this giant of a festival are \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg\" alt=\"Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances \u003ccite>(Photo: David O'Connor/Cal Performances )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 30 – Oct. 2:\u003c/strong> We’re featuring just one dance performance here — but it’s choice. \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is the West Coast headquarters for \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris \u003c/a>and his dancers, and we are so lucky. This year, Morris has brought a world premiere to open the Cal Performances season, the evening-length dance piece \u003cem>Layla and Majnun. \u003c/em>It’s based on a story of forbidden love by Persian poet Nizami Ganjavi and will be performed by the Morris company dancers, the Silk Road Ensemble (also Cal Performances regulars) and Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova. Details \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041926\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg\" alt=\"Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of 'Dream of the Red Chamber' at San Francisco Opera\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of ‘Dream of the Red Chamber’ at San Francisco Opera \u003ccite>(Photo: Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 10 – Sept. 29:\u003c/strong> \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> is probably the biggest deal of the fall classical music calendar. This \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> world premiere (a co-production with \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">The Hong Kong Arts Festival\u003c/a>) is based on the \u003ca href=\"https://www.theguardian.com/books/2016/feb/12/dream-of-the-red-chamber-cao-zuequin-chinas-favourite-novel-unknown-west\" target=\"_blank\" rel=\"noopener\">classic 18th century Chinese novel \u003c/a>about art, poetry, and a doomed love affair. The all-star creative team includes composer and co-librettist Bright Sheng, co-librettist and playwright David Henry Hwang, director Stan Lai and production designer Tim Yip. Hwang insisted that all the leads be Asian or Asian-American, so there’s no yellowface in this production, and the subtitles for the English language libretto are in both English and Chinese. What I heard and saw at a dress rehearsal Wednesday night was truly gorgeous. Details are \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg\" alt=\"Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University \u003ccite>(Photo: Fernando Aceves/Stanford Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sept. 29: \u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass\u003c/a> is almost 80 years old, a few months younger than his minimalist contemporary Steve Reich, but his fingers are still nimble enough, we hope. Glass will join four other pianists including the Bay Area’s brilliant \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\">Sarah Cahill \u003c/a>in a performance of all 20 of Glass’ piano études to open the Bing Concert Hall season at Stanford University. Details \u003ca href=\"http://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_12041930\" class=\"wp-caption aligncenter\" style=\"max-width: 548px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12041930 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg\" alt=\"David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel.\" width=\"548\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931-400x250.jpg 400w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003cfigcaption class=\"wp-caption-text\">David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel. \u003ccite>(Photo: Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23 – Nov. 7\u003c/strong>: I have a very long list of must-see plays for this fall, but none are more topical than this new adaptation of the 1935 Sinclair Lewis novel It Can’t Happen Here. Written as Hitler and Mussolini were on the rise in Europe, Lewis wrote a sprawling novel about what would happen if the US elected a populist president who promised tax cuts, a guaranteed income, and to kick out immigrants (Jews and Italians were among the targets), and make America great again. Berkeley Rep’s Artistic Director Tony Taccone and Bennett Cohen have written this new theatrical version about what happens when Windrip becomes a fascist dictator. Details \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uIaFn5lsLd8\u003c/p>\n\u003cp>\u003cstrong>Oct. 2 – 30:\u003c/strong> \u003cem>Hedwig and the Angry Inch\u003c/em> is almost as topical in its musical treatment of the genderqueer East German glam rocker Hedwig and her husband Yitzhak, their rock band and Hedwig’s botched sex change operation. Bay Area bred stars Darren Criss (\u003cem>Glee\u003c/em>) stars as Hedwig and Lena Hall as Yitzhak. Criss looks great in lipstick and glitter eye makeup. Details of the tour coming to the Golden Gate theater are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&gclid=CN_0yI_PgM8CFZFafgoddDQBKA\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gk1rTKB6ZF8\u003c/p>\n\u003cp>\u003cstrong>Oct. 19 – Nov. 13\u003c/strong>: American Conservatory Theater’s Carey Perloff is often at her best directing plays by the brilliant Tom Stoppard (\u003cem>Arcadia, Shakespeare in Love)\u003c/em>, who seems to like staging world premieres in San Francisco. Perloff directs \u003cem>The Hard Problem\u003c/em>, Stoppard’s first new play in 10 years, about sex, science, supercomputing and the the nature of the soul. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cbtuw6ptZW4\u003c/p>\n\u003cp>\u003cstrong>Sept. 29 – Oct. 2\u003c/strong>: We live in an age of music festival abundance, yet only one manages to be so inclusive and free. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass \u003c/a>is Warren Hellman’s great gift to the Bay Area. This year, Dave Alvin offers a tribute to the late Merle Haggard, who died in April, and you can also catch Mavis Staples, John Hammond, San Pablo’s Los Cenzontles, Emmylou Harris (of course), Berkeley’s \u003ca href=\"http://www.laurielewis.com/\" target=\"_blank\" rel=\"noopener\">Laurie Lewis\u003c/a>, South Bay bluesman \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">Aki Kumar\u003c/a>, Buddy Miller, even Cyndi Lauper. 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=42t0ij0wj-U\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: The Treasure Island Music Festival is celebrating 10 years in the middle of San Francisco Bay, and it’s the last for the festival at this location. So savor the sunsets. While you’re there, enjoy Oakland’s Kamaiyah, who may be the hottest rapper in the Bay Area, along with the dreamy Icelandic pop of Sigur Ros, James Blake, Purity Ring, Glass Animals, and Ice Cube. And take public transit to Treasure Island and Hardly Strictly; driving there will kill your spirit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Fall Arts Preview: A Whiz Kid at Monterey and an Oakland Rapper on Treasure Island | KQED",
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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>\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/282023539″&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/282023539″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_12041713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041713\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg\" alt=\"21 year old Jacob Collier debuts at the Monterey Jazz Festival\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-400x232.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">21-year-old Jacob Collier debuts at the Monterey Jazz Festival \u003ccite>(Photo: Greg Gorman/Monterey Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 16-18:\u003c/strong> The Monterey Jazz Festival turns 59, the longest continuously-running jazz fest in the world, and the organizers are keeping it as fresh as ever. Along with such exalted names as Wayne Shorter, Gregory Porter, Joshua Redman and Cecile McLorin Salvant they’ve booked mulit-instrumentalist \u003ca href=\"http://www.jacobcollier.co.uk/\" target=\"_blank\" rel=\"noopener\">Jacob Collier,\u003c/a> a 21-year-old whiz kid and protege of \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Quincy Jones\u003c/a>, who is blowing minds in the world of jazz and pop with his four-and-a-half octave range, looping skills and great songwriting. Christian McBride also hosts and directs a well-deserved tribute to Jones. And Berkeley singer and flutist Elena Pinderhughes makes her debut as well. Details for this giant of a festival are \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg\" alt=\"Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances \u003ccite>(Photo: David O'Connor/Cal Performances )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 30 – Oct. 2:\u003c/strong> We’re featuring just one dance performance here — but it’s choice. \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is the West Coast headquarters for \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris \u003c/a>and his dancers, and we are so lucky. This year, Morris has brought a world premiere to open the Cal Performances season, the evening-length dance piece \u003cem>Layla and Majnun. \u003c/em>It’s based on a story of forbidden love by Persian poet Nizami Ganjavi and will be performed by the Morris company dancers, the Silk Road Ensemble (also Cal Performances regulars) and Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova. Details \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041926\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg\" alt=\"Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of 'Dream of the Red Chamber' at San Francisco Opera\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of ‘Dream of the Red Chamber’ at San Francisco Opera \u003ccite>(Photo: Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 10 – Sept. 29:\u003c/strong> \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> is probably the biggest deal of the fall classical music calendar. This \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> world premiere (a co-production with \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">The Hong Kong Arts Festival\u003c/a>) is based on the \u003ca href=\"https://www.theguardian.com/books/2016/feb/12/dream-of-the-red-chamber-cao-zuequin-chinas-favourite-novel-unknown-west\" target=\"_blank\" rel=\"noopener\">classic 18th century Chinese novel \u003c/a>about art, poetry, and a doomed love affair. The all-star creative team includes composer and co-librettist Bright Sheng, co-librettist and playwright David Henry Hwang, director Stan Lai and production designer Tim Yip. Hwang insisted that all the leads be Asian or Asian-American, so there’s no yellowface in this production, and the subtitles for the English language libretto are in both English and Chinese. What I heard and saw at a dress rehearsal Wednesday night was truly gorgeous. Details are \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg\" alt=\"Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University \u003ccite>(Photo: Fernando Aceves/Stanford Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sept. 29: \u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass\u003c/a> is almost 80 years old, a few months younger than his minimalist contemporary Steve Reich, but his fingers are still nimble enough, we hope. Glass will join four other pianists including the Bay Area’s brilliant \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\">Sarah Cahill \u003c/a>in a performance of all 20 of Glass’ piano études to open the Bing Concert Hall season at Stanford University. Details \u003ca href=\"http://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_12041930\" class=\"wp-caption aligncenter\" style=\"max-width: 548px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12041930 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg\" alt=\"David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel.\" width=\"548\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931-400x250.jpg 400w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003cfigcaption class=\"wp-caption-text\">David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel. \u003ccite>(Photo: Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23 – Nov. 7\u003c/strong>: I have a very long list of must-see plays for this fall, but none are more topical than this new adaptation of the 1935 Sinclair Lewis novel It Can’t Happen Here. Written as Hitler and Mussolini were on the rise in Europe, Lewis wrote a sprawling novel about what would happen if the US elected a populist president who promised tax cuts, a guaranteed income, and to kick out immigrants (Jews and Italians were among the targets), and make America great again. Berkeley Rep’s Artistic Director Tony Taccone and Bennett Cohen have written this new theatrical version about what happens when Windrip becomes a fascist dictator. Details \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\" 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/uIaFn5lsLd8'\n title='//www.youtube.com/embed/uIaFn5lsLd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 2 – 30:\u003c/strong> \u003cem>Hedwig and the Angry Inch\u003c/em> is almost as topical in its musical treatment of the genderqueer East German glam rocker Hedwig and her husband Yitzhak, their rock band and Hedwig’s botched sex change operation. Bay Area bred stars Darren Criss (\u003cem>Glee\u003c/em>) stars as Hedwig and Lena Hall as Yitzhak. Criss looks great in lipstick and glitter eye makeup. Details of the tour coming to the Golden Gate theater are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&gclid=CN_0yI_PgM8CFZFafgoddDQBKA\" 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/gk1rTKB6ZF8'\n title='//www.youtube.com/embed/gk1rTKB6ZF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 19 – Nov. 13\u003c/strong>: American Conservatory Theater’s Carey Perloff is often at her best directing plays by the brilliant Tom Stoppard (\u003cem>Arcadia, Shakespeare in Love)\u003c/em>, who seems to like staging world premieres in San Francisco. Perloff directs \u003cem>The Hard Problem\u003c/em>, Stoppard’s first new play in 10 years, about sex, science, supercomputing and the the nature of the soul. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.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/cbtuw6ptZW4'\n title='//www.youtube.com/embed/cbtuw6ptZW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 29 – Oct. 2\u003c/strong>: We live in an age of music festival abundance, yet only one manages to be so inclusive and free. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass \u003c/a>is Warren Hellman’s great gift to the Bay Area. This year, Dave Alvin offers a tribute to the late Merle Haggard, who died in April, and you can also catch Mavis Staples, John Hammond, San Pablo’s Los Cenzontles, Emmylou Harris (of course), Berkeley’s \u003ca href=\"http://www.laurielewis.com/\" target=\"_blank\" rel=\"noopener\">Laurie Lewis\u003c/a>, South Bay bluesman \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">Aki Kumar\u003c/a>, Buddy Miller, even Cyndi Lauper. 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/42t0ij0wj-U'\n title='//www.youtube.com/embed/42t0ij0wj-U'\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>Oct. 15 & 16\u003c/strong>: The Treasure Island Music Festival is celebrating 10 years in the middle of San Francisco Bay, and it’s the last for the festival at this location. So savor the sunsets. While you’re there, enjoy Oakland’s Kamaiyah, who may be the hottest rapper in the Bay Area, along with the dreamy Icelandic pop of Sigur Ros, James Blake, Purity Ring, Glass Animals, and Ice Cube. And take public transit to Treasure Island and Hardly Strictly; driving there will kill your spirit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "curtain-call-for-screens-7-kid-friendly-theater-events",
"title": "Curtain Call for Screens: 7 Kid-Friendly Performances",
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A few weeks ago my 2-and-a-half-year-old son asked to go to the opera, and he’s repeated that every couple of days since then. To me, it’s a sign that all that prenatal Wagner (\u003ca href=\"http://operatattler.typepad.com/opera/bayreuther_festspiele/\" target=\"_blank\" rel=\"noopener\">7 operas in 9 days\u003c/a>) affected him, and I needed to support this interest in a medium I love. Doing a little research, I found that the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> offers programming for 3 to 5 year olds, gave a \u003cem>Magic Flute\u003c/em> \u003ca href=\"http://sfopera.com/expired-pages/first-act-papagenos-pop-up-adventure/\" target=\"_blank\" rel=\"noopener\">workshop\u003c/a> back in March, and plans to do the same with \u003cem>Hansel and Gretel\u003c/em> and \u003cem>The Little Prince\u003c/em> in the coming months. \u003c/p>\n\u003cp>I also found plenty of other events that will satisfy any child bit by the theater/Opera bug, and here are seven that are sure to please.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026900\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg\" alt=\"Shanghai Acrobats of the People's Republic of China\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-785x1180.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1920x2886.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1180x1774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shanghai Acrobats of the People’s Republic of China perform at UC Berkeley and Sonoma State this September. \u003ccite>(Photo: Shanghai Acrobats of the People's Republic of China)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shanghai Acrobats of the People’s Republic of China\u003c/h3>\n\u003ch5>Sept. 10\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/shanghai-acrobats-of-the-peoples-republic-of-china-shanghai-nights.php\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25\u003cbr>\nWeill Hall, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3140777-shanghai-acrobats-of-the-people-s-republic\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This acrobatic troupe makes stops at UC Berkeley and Sonoma State as part of a US tour. Featuring more than a hundred performers, this two-hour spectacle is sure to be colorful and includes aerial silks, unicyclists, hoop-diving and juggling. Considered “For Families” by Cal Performances, tickets are half price for those 16-and-under. Children 2 and under do not require a ticket at Green Music Center but must sit on the lap of an adult.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024657\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024657\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg\" alt=\"Opera in the Park\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera in the Park returns to Sharon Meadow on September 11. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Opera in the Park\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nSharon Meadow, Golden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This free annual event is part of San Francisco Opera’s opening festivities, so it’s very likely you’ll hear some of the stars in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chénier\u003c/em>\u003c/a> and \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> sing arias in a relaxed setting. The performance begins at a nap unfriendly time, but you can always show up in the morning around 10am and hear the rehearsal. If your kid ends up hating opera music, you can easily retreat to the nearby \u003ca href=\"https://goldengatepark.com/childrens-playground.html\" target=\"_blank\" rel=\"noopener\">Children’s Quarter\u003c/a>, one of the nicest playgrounds in the city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg\" alt=\"Seussical\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg 1508w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong plays The Cat in the Hat in BACT’s Seussical this fall. \u003ccite>(Photo: Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seussical\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Nov. 6\u003cbr>\nFreight & Salvage, Berkeley\u003cbr>\nNov. 19 – Dec. 11\u003cbr>\nChildren’s Creativity Museum Theater, San Francisco\u003cbr>\n\u003ca href=\"https://bactheatre.org/shows/Seussical\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) presents \u003cem>Seussical\u003c/em>, a musical based on various stories by Dr. Seuss, hosted by none other than The Cat in the Hat. Featuring characters from \u003cem>Horton Hears a Who!\u003c/em>, \u003cem>Horton Hatches the Egg\u003c/em>, and \u003cem>Miss Gertrude McFuzz\u003c/em>, this colorful work comes from Tony-winners Lynn Ahrens and Stephen Flaherty. BACT opted for the young audiences version of the piece, which runs 75 minutes — perfect for kids 3 and up.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026901\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg\" alt=\"Stanford Live Open House\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg 1770w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanford Live hosts free arts open house on October 9. \u003ccite>(Photo: Yuto Watanabe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Inside / Out: Arts Open House\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nBing Concert Hall Gunn Atrium, Palo Alto\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/inside-out-arts-open-house\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Stanford Live celebrates its 125th anniversary with an all ages open house of live performance. Featured acts include electric harp, percussion, and cello trio \u003ca href=\"http://www.stringquake.com/\" target=\"_blank\" rel=\"noopener\">StringQuake\u003c/a>, African-themed performing arts group \u003ca href=\"http://www.oriki.org/\" target=\"_blank\" rel=\"noopener\">Oriki Theater\u003c/a>, and \u003ca href=\"http://web.stanford.edu/group/calypso/cgi-bin/\" target=\"_blank\" rel=\"noopener\">Cardinal Calypso\u003c/a>, Stanford’s steel pan band. The afternoon also includes audience participation and crafts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024846\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg\" alt=\"Youth Orchestra Los Angeles\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Youth Orchestra Los Angeles and Gustavo Dudamel perform in Oakland on October 30, 2016. \u003ccite>(Photo: LA Philharmonic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gustavo Dudamel and Youth Orchestra Los Angeles (YOLA) 10th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nParamount Theatre, Oakland\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/chamber-orchestra/gustavo-dudamel-youth-orchestra-los-angeles.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Cal Performances presents LA Philharmonic’s Youth Orchestra conducted by superstar Maestro Gustavo Dudamel. The 80 young musicians range from 12 to 18 years old, and come from underserved communities throughout Los Angeles. Playing works by Beethoven, Brahms, Dvorak, Bernstein, and John Williams, the general admission tickets for the 45 minute event are only $5.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024847\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024847\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg\" alt=\"Dia de los Muertos Concert\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony presents Dia de los Muertos concerts on November 5. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Dia de los Muertos Community Concert\u003c/h3>\n\u003ch5>Nov. 5\u003cbr>\nDavies Symphony Hall, San Francisco\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This annual family-friendly event celebrates Latino culture with live music, dancing, and crafts in the lobby of Davies an hour before a concert on the stage. Featured artists include bands \u003ca href=\"http://lasantacecilia.com/\" target=\"_blank\" rel=\"noopener\">La Santa Cecilia \u003c/a>and \u003ca href=\"http://www.mariachinyc.com/\" target=\"_blank\" rel=\"noopener\">Mariachi Flor de Toloache\u003c/a>, theater group \u003ca href=\"http://circulocultural.org/\" target=\"_blank\" rel=\"noopener\">Círculo Cultural\u003c/a>, and the Women of the San Francisco Symphony Chorus. Adult tickets start at $20 and tickets for kids (recommended for those 7 and up) are half price.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024658\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024658\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg\" alt=\"Amazing Grace\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera Parallèle’s Hands-on-Opera program works with elementary schools to produce children’s operas. This year’s opera is Xochitl and the Flowers. \u003ccite>(Photo: Alejandro Palacios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Xochitl and the Flowers\u003c/em>\u003c/h3>\n\u003ch5>Nov. 17 and Nov. 19\u003cbr>\nMission Cultural Center for Latino Arts, San Francisco\u003cbr>\n\u003ca href=\"https://operaparallele.org/xochitl-and-the-flowers/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> (OP) is partnering with Alvarado Elementary School’s 3rd grade Spanish immersion program to bring \u003cem>Xochitl and the Flowers\u003c/em> by composer \u003ca href=\"http://www.pratorius.com/\" target=\"_blank\" rel=\"noopener\">Christopher Pratorius\u003c/a> to life. Based on \u003ca href=\"http://www.jorgeargueta.com/\" target=\"_blank\" rel=\"noopener\">Jorge Argueta\u003c/a>‘s bilingual book of the same name, with a libretto by Roma Olvera, the story is based on real events in San Francisco’s Mission neighborhood, focusing on the Salvadoran immigrant experience. This fourth foray into children’s opera for the fearless opera company follows last year’s \u003ca href=\"https://operaparallele.org/amazing-grace/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which featured a children’s chorus made of 4th and 5th grade students from St. Martin de Porres Catholic School.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Need to take away the screens from your children and get them out of the house? We have a few options for you.",
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"title": "Curtain Call for Screens: 7 Kid-Friendly Performances | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A few weeks ago my 2-and-a-half-year-old son asked to go to the opera, and he’s repeated that every couple of days since then. To me, it’s a sign that all that prenatal Wagner (\u003ca href=\"http://operatattler.typepad.com/opera/bayreuther_festspiele/\" target=\"_blank\" rel=\"noopener\">7 operas in 9 days\u003c/a>) affected him, and I needed to support this interest in a medium I love. Doing a little research, I found that the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> offers programming for 3 to 5 year olds, gave a \u003cem>Magic Flute\u003c/em> \u003ca href=\"http://sfopera.com/expired-pages/first-act-papagenos-pop-up-adventure/\" target=\"_blank\" rel=\"noopener\">workshop\u003c/a> back in March, and plans to do the same with \u003cem>Hansel and Gretel\u003c/em> and \u003cem>The Little Prince\u003c/em> in the coming months. \u003c/p>\n\u003cp>I also found plenty of other events that will satisfy any child bit by the theater/Opera bug, and here are seven that are sure to please.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026900\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg\" alt=\"Shanghai Acrobats of the People's Republic of China\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-785x1180.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1920x2886.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1180x1774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shanghai Acrobats of the People’s Republic of China perform at UC Berkeley and Sonoma State this September. \u003ccite>(Photo: Shanghai Acrobats of the People's Republic of China)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shanghai Acrobats of the People’s Republic of China\u003c/h3>\n\u003ch5>Sept. 10\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/shanghai-acrobats-of-the-peoples-republic-of-china-shanghai-nights.php\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25\u003cbr>\nWeill Hall, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3140777-shanghai-acrobats-of-the-people-s-republic\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This acrobatic troupe makes stops at UC Berkeley and Sonoma State as part of a US tour. Featuring more than a hundred performers, this two-hour spectacle is sure to be colorful and includes aerial silks, unicyclists, hoop-diving and juggling. Considered “For Families” by Cal Performances, tickets are half price for those 16-and-under. Children 2 and under do not require a ticket at Green Music Center but must sit on the lap of an adult.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024657\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024657\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg\" alt=\"Opera in the Park\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera in the Park returns to Sharon Meadow on September 11. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Opera in the Park\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nSharon Meadow, Golden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This free annual event is part of San Francisco Opera’s opening festivities, so it’s very likely you’ll hear some of the stars in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chénier\u003c/em>\u003c/a> and \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> sing arias in a relaxed setting. The performance begins at a nap unfriendly time, but you can always show up in the morning around 10am and hear the rehearsal. If your kid ends up hating opera music, you can easily retreat to the nearby \u003ca href=\"https://goldengatepark.com/childrens-playground.html\" target=\"_blank\" rel=\"noopener\">Children’s Quarter\u003c/a>, one of the nicest playgrounds in the city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg\" alt=\"Seussical\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg 1508w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong plays The Cat in the Hat in BACT’s Seussical this fall. \u003ccite>(Photo: Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seussical\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Nov. 6\u003cbr>\nFreight & Salvage, Berkeley\u003cbr>\nNov. 19 – Dec. 11\u003cbr>\nChildren’s Creativity Museum Theater, San Francisco\u003cbr>\n\u003ca href=\"https://bactheatre.org/shows/Seussical\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) presents \u003cem>Seussical\u003c/em>, a musical based on various stories by Dr. Seuss, hosted by none other than The Cat in the Hat. Featuring characters from \u003cem>Horton Hears a Who!\u003c/em>, \u003cem>Horton Hatches the Egg\u003c/em>, and \u003cem>Miss Gertrude McFuzz\u003c/em>, this colorful work comes from Tony-winners Lynn Ahrens and Stephen Flaherty. BACT opted for the young audiences version of the piece, which runs 75 minutes — perfect for kids 3 and up.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026901\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg\" alt=\"Stanford Live Open House\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg 1770w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanford Live hosts free arts open house on October 9. \u003ccite>(Photo: Yuto Watanabe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Inside / Out: Arts Open House\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nBing Concert Hall Gunn Atrium, Palo Alto\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/inside-out-arts-open-house\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Stanford Live celebrates its 125th anniversary with an all ages open house of live performance. Featured acts include electric harp, percussion, and cello trio \u003ca href=\"http://www.stringquake.com/\" target=\"_blank\" rel=\"noopener\">StringQuake\u003c/a>, African-themed performing arts group \u003ca href=\"http://www.oriki.org/\" target=\"_blank\" rel=\"noopener\">Oriki Theater\u003c/a>, and \u003ca href=\"http://web.stanford.edu/group/calypso/cgi-bin/\" target=\"_blank\" rel=\"noopener\">Cardinal Calypso\u003c/a>, Stanford’s steel pan band. The afternoon also includes audience participation and crafts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024846\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg\" alt=\"Youth Orchestra Los Angeles\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Youth Orchestra Los Angeles and Gustavo Dudamel perform in Oakland on October 30, 2016. \u003ccite>(Photo: LA Philharmonic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gustavo Dudamel and Youth Orchestra Los Angeles (YOLA) 10th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nParamount Theatre, Oakland\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/chamber-orchestra/gustavo-dudamel-youth-orchestra-los-angeles.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Cal Performances presents LA Philharmonic’s Youth Orchestra conducted by superstar Maestro Gustavo Dudamel. The 80 young musicians range from 12 to 18 years old, and come from underserved communities throughout Los Angeles. Playing works by Beethoven, Brahms, Dvorak, Bernstein, and John Williams, the general admission tickets for the 45 minute event are only $5.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024847\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024847\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg\" alt=\"Dia de los Muertos Concert\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony presents Dia de los Muertos concerts on November 5. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Dia de los Muertos Community Concert\u003c/h3>\n\u003ch5>Nov. 5\u003cbr>\nDavies Symphony Hall, San Francisco\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This annual family-friendly event celebrates Latino culture with live music, dancing, and crafts in the lobby of Davies an hour before a concert on the stage. Featured artists include bands \u003ca href=\"http://lasantacecilia.com/\" target=\"_blank\" rel=\"noopener\">La Santa Cecilia \u003c/a>and \u003ca href=\"http://www.mariachinyc.com/\" target=\"_blank\" rel=\"noopener\">Mariachi Flor de Toloache\u003c/a>, theater group \u003ca href=\"http://circulocultural.org/\" target=\"_blank\" rel=\"noopener\">Círculo Cultural\u003c/a>, and the Women of the San Francisco Symphony Chorus. Adult tickets start at $20 and tickets for kids (recommended for those 7 and up) are half price.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024658\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024658\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg\" alt=\"Amazing Grace\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera Parallèle’s Hands-on-Opera program works with elementary schools to produce children’s operas. This year’s opera is Xochitl and the Flowers. \u003ccite>(Photo: Alejandro Palacios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Xochitl and the Flowers\u003c/em>\u003c/h3>\n\u003ch5>Nov. 17 and Nov. 19\u003cbr>\nMission Cultural Center for Latino Arts, San Francisco\u003cbr>\n\u003ca href=\"https://operaparallele.org/xochitl-and-the-flowers/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> (OP) is partnering with Alvarado Elementary School’s 3rd grade Spanish immersion program to bring \u003cem>Xochitl and the Flowers\u003c/em> by composer \u003ca href=\"http://www.pratorius.com/\" target=\"_blank\" rel=\"noopener\">Christopher Pratorius\u003c/a> to life. Based on \u003ca href=\"http://www.jorgeargueta.com/\" target=\"_blank\" rel=\"noopener\">Jorge Argueta\u003c/a>‘s bilingual book of the same name, with a libretto by Roma Olvera, the story is based on real events in San Francisco’s Mission neighborhood, focusing on the Salvadoran immigrant experience. This fourth foray into children’s opera for the fearless opera company follows last year’s \u003ca href=\"https://operaparallele.org/amazing-grace/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which featured a children’s chorus made of 4th and 5th grade students from St. Martin de Porres Catholic School.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What's behind SF Opera's Chinese Opera Kick?",
"headTitle": "What’s behind SF Opera’s Chinese Opera Kick? | KQED",
"content": "\u003cp>Why has Asia — and China in particular — held such a fascination for western opera composers and companies? The “Exotic East” is the backdrop for many classic operas, from Vivaldi’s obscure \u003ci>Teuzzone\u003c/i> of 1719 to Puccini’s famous \u003ci>Turandot\u003c/i> that premiered in 1926, each featuring complicated love plots set in the Chinese court.\u003c/p>\n\u003cp>China continues to provide a framework for contemporary American operas. We’ve seen a rash of them over the past decade, including recent revivals of John Adams’ \u003ci>Nixon in China\u003c/i> in San Francisco, New York, and San Diego, and the world premieres of several Chinese-themed works, such as Tan Dun’s \u003ci>First Emperor\u003c/i> (2006) at the Metropolitan Opera in New York, and Zhou Long’s Pulitzer Prize-winning \u003ci>Madame White Snake\u003c/i> of 2010 at the defunct Opera Boston.\u003c/p>\n\u003cfigure id=\"attachment_12036902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036902 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg\" alt=\"Supertitles in Dream of the Red Chamber\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supertitles in action for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now comes the latest world premiere from \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(SF Opera) — \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003ci>Dream of the Red Chamber\u003c/i>\u003c/a>. The work, sung in English with Chinese supertitles and based on an epic 18th century novel by Cao Xueqin, tells the story of a courtly love triangle between an aristocratic young man and two very different women against the backdrop of a crumbling dynasty.\u003c/p>\n\u003cp>\u003ci>Dream \u003c/i>is SF Opera’s second Chinese-themed world premiere in less than a decade. The first, in 2008, was \u003ci>Bonesetter’s Daughter\u003c/i>, based on \u003ca href=\"https://www.amytan.net/\" target=\"_blank\" rel=\"noopener\">Amy Tan\u003c/a>’s bestselling novel of the same name and composed by Stewart Wallace. “The Chinese-inspired works in recent years speak in part to the rich literary and cultural heritage of China,” says SF Opera’s general director Matthew Shilvock of the trend among major American opera companies for \u003ci>chinoiserie\u003c/i>. “Stories like \u003ci>Dream of the Red Chamber\u003c/i> are incredible epics of humanity that speak to us with the power of the Norse legends behind Wagner’s \u003ci>Ring\u003c/i>, and the European literary traditions of authors from Euripides to Victor Hugo and beyond.”\u003c/p>\n\u003cp>But “great stories” are only part of the equation. The company’s programming choices are also being driven by commercial considerations. \u003ci>Bonesetter’s Daughter\u003c/i> attracted near-capacity audiences throughout its run, so it’s no surprise that the company is looking to replicate and extend its box office mojo with \u003ci>Dream\u003c/i>, particularly among the growing Asian opera audience, half of which identify as Chinese. Over the past couple of years, SF Opera has seen the size of that audience grow, from 11% to 12.5%.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Strong talent pipeline\u003c/b>\u003c/p>\n\u003cp>An important part of capturing those potential new customers means highlighting actual Asian talent. This, as opposed to putting a bunch of white performers in “yellowface” in works written, staged and designed by predominantly or entirely caucasian creative teams, as has been overwhelmingly the case throughout opera history. “Asian Americans are very used to seeing white people cast in Asian and Asian American roles,” says Rachel Lem, a board member for The \u003ca href=\"http://sfopera.com/buy-tickets/bravo-club/\" target=\"_blank\" rel=\"noopener\">Bravo! Club\u003c/a>, SF Opera’s young people’s association. “Not only does this decrease opportunities for people of color, it also tends to result in offensive yellowface. I hesitate to attend productions of \u003ci>Madama Butterfly\u003c/i> or \u003ci>The Mikado\u003c/i>, as I don’t wish to sit through hours of white actors in “Asian” makeup and wigs.”\u003c/p>\n\u003cp>That’s why SF Opera has assembled a star-studded Asian production crew and cast for this project — albeit one that extends beyond China: The man behind the music is acclaimed Chinese-American composer \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng\u003c/a>; Tony Award-winning dramatist \u003ca href=\"http://arts.columbia.edu/theatre/faculty/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang\u003c/a> co-wrote the libretto with the composer; sets and costumes are the handiwork of Tim Yip, who designed the hit movie \u003ci>Crouching Tiger Hidden Dragon\u003c/i>; and Stan Lai, a world-class Taiwanese director, is staging the show.\u003c/p>\n\u003cfigure id=\"attachment_12036903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036903 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg\" alt=\"Pureum Jo and Yijie Shi\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pureum Jo (Dai Yu) and tenor Yijie Shi (Bao Yu) in rehearsal for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also gives SF Opera the opportunity to hire Asian opera singers. Key performers in \u003ci>Dream\u003c/i> include Korean soprano \u003ca href=\"http://www.pureumjosoprano.com/\" target=\"_blank\" rel=\"noopener\">Pureum Jo\u003c/a>, a Juilliard and Houston Grand Opera alum, and Chinese tenor Yijie Shi, who has sung at the Metropolitan Opera in New York and at Deutsche Oper Berlin.\u003c/p>\n\u003cp>Thankfully the pipeline of singers is particularly strong these days — though American companies tend to cast a sweeping net that encompasses performers from many different Asian ethnicities when it comes to hiring singers for specifically Chinese-themed operas. “In the last 15 years, there has been an incredible increase in the number of Asian singers participating in U.S. training programs and appearing on US stages,” Shilvock says. “It used to be the case that Asian artists would first come to a U.S. master’s or doctoral program. Now we are inviting a number of singers each year into our programs directly from Asia as operatic performances, teaching and activity has seen a huge increase, particularly in China.”\u003c/p>\n\u003cp>\u003cb>Fertile ground for cross-pollination\u003c/b>\u003c/p>\n\u003cp>It’s not just opera education that’s blossoming in China. “What is exciting at the moment is the huge growth of operatic activity within China,” Shilvock says. “The building of so many incredible opera houses and the development of a rich tradition of performance that integrates western repertoire with Chinese opera.”\u003c/p>\n\u003cp>Western operas have long had a following among Chinese audiences, a trend that began with European opera troupes that visited Shanghai back in the late 1800s. In recent years, opera houses designed by internationally renowned architects have been springing up in many major Chinese cities, such as the Guangzhou Opera House, designed by Iraqi-British architect Zaha Hadid, and the Harbin Opera House, designed by the Beijing-headquartered firm, MAD Studio. And the appetite for European warhorses abounds in these venues; the National Centre for the Performing Arts in Beijing regularly schedules works by the likes of Bizet, Verdi, and Wagner.\u003c/p>\n\u003cp>With all of this activity, a certain amount of cross-pollination is natural — and operas that attempt to fuse eastern and western traditions aren’t only being seen on U.S. stages. The Chinese began writing their own hybrid western-style operas as early as 1940s with Yan Jinxuan’s \u003ci>The White Haired Girl\u003c/i>. And Chinese-American pieces have been known to cross the Pacific, like Zhou Long’s English-language \u003ca href=\"http://www.madamewhitesnake.org/opera.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Madame White Snake\u003c/i>\u003c/a>, which was performed in Beijing after its run in Boston. That opera, based on an ancient folktale, has even outlived its opera company, and returns to Boston this weekend in a \u003ca href=\"https://artsemerson.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">run at Emerson College\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12036905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg\" alt=\"Bright Sheng and Hyona Kim\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Bright Sheng with mezzo-soprano Hyona Kim (Lady Wang) backstage during SF Opera’s rehearsals for Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Dream\u003c/i> itself is going on to a staging at the 45th annual \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">Hong Kong Arts Festival\u003c/a> next year and is being translated into mandarin to ready it for further international exposure beyond 2017. This is an accomplishment for any new opera, since it’s always a challenge for a contemporary work to receive additional productions after its world premiere. And it’s big win for SF Opera, which has put on eight new operas in the last decade, but only this one and \u003ca href=\"http://philipglass.com/compositions/appomattox/\" target=\"_blank\" rel=\"noopener\">Philip Glass’ \u003ci>Appomattox\u003c/i>\u003c/a> have so far gone on to the possibility of a second life after its world premiere.\u003c/p>\n\u003cp>It’s notable that \u003cem>Dream\u003c/em> is having its Asian premiere next year in Hong Kong alongside famed Czech composer Leos Janáček’s \u003ci>The Makropulos Case\u003c/i>. That work, a staple of western opera houses, is only now being seen by audiences on the other side of the Pacific — nearly a century since it made its debut in Brno in what is now the Czech Republic. That it will only take \u003ci>Dream\u003c/i> six months to travel from San Francisco to Hong Kong speaks to how much this classic story resonates with Chinese audiences as well as the international bankability of the production team.\u003c/p>\n\u003cp>San Francisco audiences are equally excited about \u003ci>Dream\u003c/i>. “It is such a significant work of world literature and they are terrific artists” says \u003ca href=\"http://aas.sfsu.edu/dariotis-wei-ming\" target=\"_blank\" rel=\"noopener\">Wei Ming Dariotis\u003c/a>, an Asian American studies professor at San Francisco State University. “Chinese American culture is part of our heritage and a rich source of inspiration.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>San Francisco Opera’s \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">Dream\u003c/a>\u003cem>\u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\"> of the Red Chamber\u003c/a>\u003c/em> plays Saturday, Sep.10 – Thursday, Sep. 29 at the War Memorial Opera House in San Francisco.\u003c/strong>\u003c/p>\n\n",
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"excerpt": "With its latest world premiere 'Dream of the Red Chamber,' SF Opera hopes to build on a growing trend for new, Chinese-themed works.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Why has Asia — and China in particular — held such a fascination for western opera composers and companies? The “Exotic East” is the backdrop for many classic operas, from Vivaldi’s obscure \u003ci>Teuzzone\u003c/i> of 1719 to Puccini’s famous \u003ci>Turandot\u003c/i> that premiered in 1926, each featuring complicated love plots set in the Chinese court.\u003c/p>\n\u003cp>China continues to provide a framework for contemporary American operas. We’ve seen a rash of them over the past decade, including recent revivals of John Adams’ \u003ci>Nixon in China\u003c/i> in San Francisco, New York, and San Diego, and the world premieres of several Chinese-themed works, such as Tan Dun’s \u003ci>First Emperor\u003c/i> (2006) at the Metropolitan Opera in New York, and Zhou Long’s Pulitzer Prize-winning \u003ci>Madame White Snake\u003c/i> of 2010 at the defunct Opera Boston.\u003c/p>\n\u003cfigure id=\"attachment_12036902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036902 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg\" alt=\"Supertitles in Dream of the Red Chamber\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supertitles in action for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now comes the latest world premiere from \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(SF Opera) — \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003ci>Dream of the Red Chamber\u003c/i>\u003c/a>. The work, sung in English with Chinese supertitles and based on an epic 18th century novel by Cao Xueqin, tells the story of a courtly love triangle between an aristocratic young man and two very different women against the backdrop of a crumbling dynasty.\u003c/p>\n\u003cp>\u003ci>Dream \u003c/i>is SF Opera’s second Chinese-themed world premiere in less than a decade. The first, in 2008, was \u003ci>Bonesetter’s Daughter\u003c/i>, based on \u003ca href=\"https://www.amytan.net/\" target=\"_blank\" rel=\"noopener\">Amy Tan\u003c/a>’s bestselling novel of the same name and composed by Stewart Wallace. “The Chinese-inspired works in recent years speak in part to the rich literary and cultural heritage of China,” says SF Opera’s general director Matthew Shilvock of the trend among major American opera companies for \u003ci>chinoiserie\u003c/i>. “Stories like \u003ci>Dream of the Red Chamber\u003c/i> are incredible epics of humanity that speak to us with the power of the Norse legends behind Wagner’s \u003ci>Ring\u003c/i>, and the European literary traditions of authors from Euripides to Victor Hugo and beyond.”\u003c/p>\n\u003cp>But “great stories” are only part of the equation. The company’s programming choices are also being driven by commercial considerations. \u003ci>Bonesetter’s Daughter\u003c/i> attracted near-capacity audiences throughout its run, so it’s no surprise that the company is looking to replicate and extend its box office mojo with \u003ci>Dream\u003c/i>, particularly among the growing Asian opera audience, half of which identify as Chinese. Over the past couple of years, SF Opera has seen the size of that audience grow, from 11% to 12.5%.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Strong talent pipeline\u003c/b>\u003c/p>\n\u003cp>An important part of capturing those potential new customers means highlighting actual Asian talent. This, as opposed to putting a bunch of white performers in “yellowface” in works written, staged and designed by predominantly or entirely caucasian creative teams, as has been overwhelmingly the case throughout opera history. “Asian Americans are very used to seeing white people cast in Asian and Asian American roles,” says Rachel Lem, a board member for The \u003ca href=\"http://sfopera.com/buy-tickets/bravo-club/\" target=\"_blank\" rel=\"noopener\">Bravo! Club\u003c/a>, SF Opera’s young people’s association. “Not only does this decrease opportunities for people of color, it also tends to result in offensive yellowface. I hesitate to attend productions of \u003ci>Madama Butterfly\u003c/i> or \u003ci>The Mikado\u003c/i>, as I don’t wish to sit through hours of white actors in “Asian” makeup and wigs.”\u003c/p>\n\u003cp>That’s why SF Opera has assembled a star-studded Asian production crew and cast for this project — albeit one that extends beyond China: The man behind the music is acclaimed Chinese-American composer \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng\u003c/a>; Tony Award-winning dramatist \u003ca href=\"http://arts.columbia.edu/theatre/faculty/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang\u003c/a> co-wrote the libretto with the composer; sets and costumes are the handiwork of Tim Yip, who designed the hit movie \u003ci>Crouching Tiger Hidden Dragon\u003c/i>; and Stan Lai, a world-class Taiwanese director, is staging the show.\u003c/p>\n\u003cfigure id=\"attachment_12036903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036903 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg\" alt=\"Pureum Jo and Yijie Shi\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pureum Jo (Dai Yu) and tenor Yijie Shi (Bao Yu) in rehearsal for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also gives SF Opera the opportunity to hire Asian opera singers. Key performers in \u003ci>Dream\u003c/i> include Korean soprano \u003ca href=\"http://www.pureumjosoprano.com/\" target=\"_blank\" rel=\"noopener\">Pureum Jo\u003c/a>, a Juilliard and Houston Grand Opera alum, and Chinese tenor Yijie Shi, who has sung at the Metropolitan Opera in New York and at Deutsche Oper Berlin.\u003c/p>\n\u003cp>Thankfully the pipeline of singers is particularly strong these days — though American companies tend to cast a sweeping net that encompasses performers from many different Asian ethnicities when it comes to hiring singers for specifically Chinese-themed operas. “In the last 15 years, there has been an incredible increase in the number of Asian singers participating in U.S. training programs and appearing on US stages,” Shilvock says. “It used to be the case that Asian artists would first come to a U.S. master’s or doctoral program. Now we are inviting a number of singers each year into our programs directly from Asia as operatic performances, teaching and activity has seen a huge increase, particularly in China.”\u003c/p>\n\u003cp>\u003cb>Fertile ground for cross-pollination\u003c/b>\u003c/p>\n\u003cp>It’s not just opera education that’s blossoming in China. “What is exciting at the moment is the huge growth of operatic activity within China,” Shilvock says. “The building of so many incredible opera houses and the development of a rich tradition of performance that integrates western repertoire with Chinese opera.”\u003c/p>\n\u003cp>Western operas have long had a following among Chinese audiences, a trend that began with European opera troupes that visited Shanghai back in the late 1800s. In recent years, opera houses designed by internationally renowned architects have been springing up in many major Chinese cities, such as the Guangzhou Opera House, designed by Iraqi-British architect Zaha Hadid, and the Harbin Opera House, designed by the Beijing-headquartered firm, MAD Studio. And the appetite for European warhorses abounds in these venues; the National Centre for the Performing Arts in Beijing regularly schedules works by the likes of Bizet, Verdi, and Wagner.\u003c/p>\n\u003cp>With all of this activity, a certain amount of cross-pollination is natural — and operas that attempt to fuse eastern and western traditions aren’t only being seen on U.S. stages. The Chinese began writing their own hybrid western-style operas as early as 1940s with Yan Jinxuan’s \u003ci>The White Haired Girl\u003c/i>. And Chinese-American pieces have been known to cross the Pacific, like Zhou Long’s English-language \u003ca href=\"http://www.madamewhitesnake.org/opera.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Madame White Snake\u003c/i>\u003c/a>, which was performed in Beijing after its run in Boston. That opera, based on an ancient folktale, has even outlived its opera company, and returns to Boston this weekend in a \u003ca href=\"https://artsemerson.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">run at Emerson College\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12036905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg\" alt=\"Bright Sheng and Hyona Kim\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Bright Sheng with mezzo-soprano Hyona Kim (Lady Wang) backstage during SF Opera’s rehearsals for Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Dream\u003c/i> itself is going on to a staging at the 45th annual \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">Hong Kong Arts Festival\u003c/a> next year and is being translated into mandarin to ready it for further international exposure beyond 2017. This is an accomplishment for any new opera, since it’s always a challenge for a contemporary work to receive additional productions after its world premiere. And it’s big win for SF Opera, which has put on eight new operas in the last decade, but only this one and \u003ca href=\"http://philipglass.com/compositions/appomattox/\" target=\"_blank\" rel=\"noopener\">Philip Glass’ \u003ci>Appomattox\u003c/i>\u003c/a> have so far gone on to the possibility of a second life after its world premiere.\u003c/p>\n\u003cp>It’s notable that \u003cem>Dream\u003c/em> is having its Asian premiere next year in Hong Kong alongside famed Czech composer Leos Janáček’s \u003ci>The Makropulos Case\u003c/i>. That work, a staple of western opera houses, is only now being seen by audiences on the other side of the Pacific — nearly a century since it made its debut in Brno in what is now the Czech Republic. That it will only take \u003ci>Dream\u003c/i> six months to travel from San Francisco to Hong Kong speaks to how much this classic story resonates with Chinese audiences as well as the international bankability of the production team.\u003c/p>\n\u003cp>San Francisco audiences are equally excited about \u003ci>Dream\u003c/i>. “It is such a significant work of world literature and they are terrific artists” says \u003ca href=\"http://aas.sfsu.edu/dariotis-wei-ming\" target=\"_blank\" rel=\"noopener\">Wei Ming Dariotis\u003c/a>, an Asian American studies professor at San Francisco State University. “Chinese American culture is part of our heritage and a rich source of inspiration.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Opera’s \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">Dream\u003c/a>\u003cem>\u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\"> of the Red Chamber\u003c/a>\u003c/em> plays Saturday, Sep.10 – Thursday, Sep. 29 at the War Memorial Opera House in San Francisco.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Even though it is still summer, every day is ending a little sooner. And as it gets darker and darker, as the fall leads to the coming winter, the theater returns in full force. Summer theater is a diversion, an art in need of an adjective, whereas in the fall it is just theater. So it is not surprising that the true theatrical season always begins when the summer ends, and that the shows get darker along with the days.\u003c/p>\n\u003cp>As with all Arts previews, we won’t really know the wisdom of these suggestions until they happen. So as you go to these productions please tell us what you think, either on the comments page here, the one for the actual reviews coming up, or on John Wilkins’ twitter account.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11976463\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11976463\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-800x450.jpg\" alt=\"Dee Crosby (Suli Holum) gets ready to fight in Stein | Holcum Project's 'The Wholehearted' at Z Space.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dee Crosby (Suli Holum) gets ready to fight in Stein | Holcum Project’s ‘The Wholehearted’ at Z Space. \u003ccite>(Photo: Kate Freer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stein | Holum Projects’ \u003cem>The Wholehearted\u003c/em>\u003c/h3>\n\u003ch5>Sept. 7-10\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://zspace.org\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>The Z Space has brought in some of the best and most radical theater artists over the past three years (The Wooster Group, Pig Iron Theater, the Rude Mechs) and now Stein | Holum Projects comes to San Francisco with \u003cem>The Wholehearted\u003c/em>. Part performance art, part boxing match, and part Country & Western concert, the show has a classic narrative drive: can a life fractured by fame and exploitation find its way back to hope and decency?\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11976465\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11976465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-800x450.jpg\" alt=\"The sad Prince of England on the verge of being the King in Mike Bartlett's 'King Charles III' at ACT.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144.jpg 1946w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sad Prince of England on the verge of being the King in Mike Bartlett’s ‘King Charles III’ at ACT. \u003ccite>(Photo: Courtesy of ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The American Conservatory Theater’s \u003cem>KING CHARLES III\u003c/em>\u003c/h3>\n\u003ch5>Sept. 14-Oct. 9\u003cbr>\nThe Geary Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.act-sf.org\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>Since Brexit, Mike Bartlett’s \u003cem>King Charles III\u003c/em> has become more than an intriguing fantasy. What once seemed a kind of hypothetical stunt — what if the royal family actually mattered? What if Prince Charles had real political power? Who and what form of government actually unites and expresses the will of the people — has become a pressing political issue. With America’s grand Trump flirtation and democracies across Europe leaning towards savvier versions of Donald’s casual brutality, Barlett’s play gives us a glimpse of a new world order.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11976617\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11976617\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-800x448.jpg\" alt=\"(L to R) Howard Johnson and Wayne Turner III in Crowded Fire's production of 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Howard Johnson and Wayne Turner III in Crowded Fire’s production of ‘The Shipment’ by Young Jean Lee. \u003ccite>(Photo: Chershire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Crowded Fire’s \u003cem>The Shipment\u003c/em>\u003c/h3>\n\u003ch5>Sept. 22 – Oct. 15\u003cbr>\nThick House, San Francisco\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>Perched somewhere between a minstrel show and a drawing room comedy, Young Jean Lee’s \u003cem>The Shipment\u003c/em> belongs to the burgeoning genre of wild African-American satire. It’s as if all of a sudden artists looked at what was happening in the world, and declared that melodrama and angry social realism could no longer save the day. As is the case with all real satire, Lee intends to hurt and so what sort of blood ends up on the Crowded Fire stage will be of great interest.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11976622\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11976622\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-800x449.jpg\" alt=\"Beth Wilmurt is the explosive and angry Martha in the Shotgun Players' production of 'Who's Afraid of Virginia Woolf?' by Edward Albee.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt is the explosive and angry Martha in the Shotgun Players’ production of ‘Who’s Afraid of Virginia Woolf?’ by Edward Albee.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Shotgun Player’s \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em>\u003c/h3>\n\u003ch5>Oct. 12 – Nov. 13\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"https://shotgunplayers.org/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>Though now a classic, Albee’s shocker still might be the angriest play to ever become a Broadway hit. And what’s beautiful is that you can’t even tell where the anger is coming from — it just kind of floats in the air waiting to strike the most vulnerable. That conceptual whiz Mark Jackson is directing and the production is part of the Shotgun Players’ experiment in Repertory Theater only makes the outcome that much more interesting. We can imagine the fear already.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11976646\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11976646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-800x448.jpg\" alt=\" Vaslav Nijinsky (Mikhail Baryshnikov) struggles with his mind in Robert Wilson's 'Letter to a Man' at Cal Performances.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) struggles with his mind in Robert Wilson’s ‘Letters to a Man’ at Cal Performances. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Cal Performances presents \u003cem>Letters to a Man\u003c/em>\u003c/h3>\n\u003ch5>Nov. 10 – 13\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>There’s something not quite right about portrayals of genius — take \u003cem>Amadeus\u003c/em> for example. And yet it feels right that Mikhail Baryshnikov should be portraying a dream version of Vaslav Nijinsky under the world renowned Robert Wilson’s direction in \u003cem>Letters to a Man\u003c/em> at Cal Performances. Starting with Nijinsky’s painful and illuminating diaries, Wilson and Baryshnikov are not so much looking to give us a portrait of an artist, but the burning life of one man’s soul.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Even though it is still summer, every day is ending a little sooner. And as it gets darker and darker, as the fall leads to the coming winter, the theater returns in full force. Summer theater is a diversion, an art in need of an adjective, whereas in the fall it is just theater. So it is not surprising that the true theatrical season always begins when the summer ends, and that the shows get darker along with the days.\u003c/p>\n\u003cp>As with all Arts previews, we won’t really know the wisdom of these suggestions until they happen. So as you go to these productions please tell us what you think, either on the comments page here, the one for the actual reviews coming up, or on John Wilkins’ twitter account.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11976463\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11976463\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-800x450.jpg\" alt=\"Dee Crosby (Suli Holum) gets ready to fight in Stein | Holcum Project's 'The Wholehearted' at Z Space.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wholehearted3-e1472087421420-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dee Crosby (Suli Holum) gets ready to fight in Stein | Holcum Project’s ‘The Wholehearted’ at Z Space. \u003ccite>(Photo: Kate Freer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stein | Holum Projects’ \u003cem>The Wholehearted\u003c/em>\u003c/h3>\n\u003ch5>Sept. 7-10\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://zspace.org\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>The Z Space has brought in some of the best and most radical theater artists over the past three years (The Wooster Group, Pig Iron Theater, the Rude Mechs) and now Stein | Holum Projects comes to San Francisco with \u003cem>The Wholehearted\u003c/em>. Part performance art, part boxing match, and part Country & Western concert, the show has a classic narrative drive: can a life fractured by fame and exploitation find its way back to hope and decency?\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11976465\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11976465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-800x450.jpg\" alt=\"The sad Prince of England on the verge of being the King in Mike Bartlett's 'King Charles III' at ACT.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/KingCharlesIII-e1472087836144.jpg 1946w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sad Prince of England on the verge of being the King in Mike Bartlett’s ‘King Charles III’ at ACT. \u003ccite>(Photo: Courtesy of ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The American Conservatory Theater’s \u003cem>KING CHARLES III\u003c/em>\u003c/h3>\n\u003ch5>Sept. 14-Oct. 9\u003cbr>\nThe Geary Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.act-sf.org\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>Since Brexit, Mike Bartlett’s \u003cem>King Charles III\u003c/em> has become more than an intriguing fantasy. What once seemed a kind of hypothetical stunt — what if the royal family actually mattered? What if Prince Charles had real political power? Who and what form of government actually unites and expresses the will of the people — has become a pressing political issue. With America’s grand Trump flirtation and democracies across Europe leaning towards savvier versions of Donald’s casual brutality, Barlett’s play gives us a glimpse of a new world order.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11976617\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11976617\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-800x448.jpg\" alt=\"(L to R) Howard Johnson and Wayne Turner III in Crowded Fire's production of 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shipment_Horizontal-e1472088626927-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Howard Johnson and Wayne Turner III in Crowded Fire’s production of ‘The Shipment’ by Young Jean Lee. \u003ccite>(Photo: Chershire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Crowded Fire’s \u003cem>The Shipment\u003c/em>\u003c/h3>\n\u003ch5>Sept. 22 – Oct. 15\u003cbr>\nThick House, San Francisco\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>Perched somewhere between a minstrel show and a drawing room comedy, Young Jean Lee’s \u003cem>The Shipment\u003c/em> belongs to the burgeoning genre of wild African-American satire. It’s as if all of a sudden artists looked at what was happening in the world, and declared that melodrama and angry social realism could no longer save the day. As is the case with all real satire, Lee intends to hurt and so what sort of blood ends up on the Crowded Fire stage will be of great interest.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11976622\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11976622\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-800x449.jpg\" alt=\"Beth Wilmurt is the explosive and angry Martha in the Shotgun Players' production of 'Who's Afraid of Virginia Woolf?' by Edward Albee.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/who-is-agraid-e1472090256653-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt is the explosive and angry Martha in the Shotgun Players’ production of ‘Who’s Afraid of Virginia Woolf?’ by Edward Albee.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Shotgun Player’s \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em>\u003c/h3>\n\u003ch5>Oct. 12 – Nov. 13\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"https://shotgunplayers.org/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>Though now a classic, Albee’s shocker still might be the angriest play to ever become a Broadway hit. And what’s beautiful is that you can’t even tell where the anger is coming from — it just kind of floats in the air waiting to strike the most vulnerable. That conceptual whiz Mark Jackson is directing and the production is part of the Shotgun Players’ experiment in Repertory Theater only makes the outcome that much more interesting. We can imagine the fear already.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11976646\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11976646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-800x448.jpg\" alt=\" Vaslav Nijinsky (Mikhail Baryshnikov) struggles with his mind in Robert Wilson's 'Letter to a Man' at Cal Performances.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/lettertoaman2-e1472090990639-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) struggles with his mind in Robert Wilson’s ‘Letters to a Man’ at Cal Performances. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Cal Performances presents \u003cem>Letters to a Man\u003c/em>\u003c/h3>\n\u003ch5>Nov. 10 – 13\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>There’s something not quite right about portrayals of genius — take \u003cem>Amadeus\u003c/em> for example. And yet it feels right that Mikhail Baryshnikov should be portraying a dream version of Vaslav Nijinsky under the world renowned Robert Wilson’s direction in \u003cem>Letters to a Man\u003c/em> at Cal Performances. Starting with Nijinsky’s painful and illuminating diaries, Wilson and Baryshnikov are not so much looking to give us a portrait of an artist, but the burning life of one man’s soul.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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