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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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"disqusTitle": "One Year Out of Prison, Actor Takes on 'Othello'",
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"content": "\u003cp>A new production of \u003ci>\u003cspan style=\"font-weight: 400\">Othello \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">opened this weekend at Northern California’s \u003ca href=\"http://marinshakespeare.org/\">Marin Shakespeare Company\u003c/a>. The lead actor, Dameion Brown, has never appeared on a professional stage before. In fact, just last year, he was paroled after spending 23 years in California state prison. Now he’s tackling one of Shakespeare’s most difficult characters.\u003c/span>\u003c/p>\n\u003cp>Othello is a controversial play, dealing with race, love and violence. In case you need the Cliffs Notes: After he’s convinced that his wife is deceiving him, Othello, a Moorish general, kills his fair-skinned Venetian wife, Desdemona.\u003c/p>\n\u003cp>I spoke with Dameion Brown at KQED’s studio in San Francisco.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/281146281\" 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>\u003cb>What is it about Othello that drew you to that role?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>DAMEION BROWN:\u003c/strong> One of the main things is the fact that I had won that lead in junior high. And that production never went on. You’re looking at a 14-year-old black boy with a 14-year-old white girl, in the South. There were strong feelings from the parents -- the African-American parents and the white parents -- of how they wanted their children to interact in a play such as that. So that performance never took place. And it was something that stuck in my mind a long time.\u003c/p>\n\u003cp>\u003cb>So, now you're getting a chance to play Othello, finally. How do you establish an emotional connection to this character, from a play written almost 400 years ago?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> That is the easiest part. Life experiences prepare you for the ebbs and flows of emotion. I understand betrayal. I understand confusion. I understand jealousy. I understand the pain of harming someone you love. I don't have to dig deep to get in touch with those things, because they make up who I am. Had it been a comedy, that would have required a lot more work from me!\u003c/p>\n\u003cp>\u003cb>You mention understanding the pain of harming someone you love. I know that you were sentenced to life, basically for being physically abusive to your own kids.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes. And it is indeed a fact: I believed in corporal punishment. And I did inflict corporal punishment. It’s also a fact that I was charged with certain things, and I was convicted of certain things. But it is also a fact that the things which I did have not been presented in the right way. What was true was that I was very physical with my children, because I understood that to be the way that a parent reared a child -- with the switch, with the belt -- because this is what I knew, coming from the South. Over time, I learned better.\u003c/p>\n\u003cp>\u003cb>You were charged with harming your 3-year-old daughter, and leaving her disfigured. Those are pretty serious charges.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Very serious charges. And it was a very real conviction. And it was a very real 23 years that I spent. But a very inaccurate story of what occurred.\u003c/p>\n\u003cp>\u003cb>So what did occur?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> It was neglect. Trying to do all these things at once. Trying to prepare for a job interview, trying to answer the door, trying to feed some of the children, trying to bathe some of the children, trying to get a bottle into the bedroom with my newborn with my wife. And forgetting I had a child in the bathtub. When these accidents occur, and someone looks and says, \"Well, you switch your children, you whip your children, you leave marks on your children,\" you lose all benefit of the doubt that an accident could occur.\u003c/p>\n\u003cp>\u003cb>You were paroled after 23 years, and the parole board eventually did agree that you were reformed. And the arts were a part of that, right? You participated in a Shakespeare production while you were serving time.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> \u003cem>Macbeth.\u003c/em> And it was a very good thing. I learned a lot. Sometimes, through an examination of another life -- even if it be a fictitious character -- it is impossible that at 2 in the morning when you're in the solitude of your own thoughts, you can’t identify with the parallel that exists within yourself.\u003c/p>\n\u003cp>\u003cb>Outside of acting, you have a job \u003ca href=\"http://communityworkswest.org/about-us/\">mentoring young people\u003c/a> who are at risk. Are any of them going to see you in \u003cem>Othello\u003c/em>?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Definitely. They have all expressed great interest in coming to see it. I want them to see that someone who did 23 years in prison, who is still sometimes thought of as some of the Venetians thought of the Moor, can achieve this. And let them know it’s OK to try something different. You don’t have to cuss all day. I can say “thee,” “thou” and “thither.” Broaden your horizon.\u003c/p>\n\u003cp>\u003cb>Your own life has had some Shakespearean twists. You're now out on parole. I understand you're married now, to a woman who was a former guard at Soledad. It's all kind of Shakespearean.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes, we live these comedies and these tragedies, and they are the ebbs and flows of life. There was a time when I thought that I would never be out of prison. There was a time when I thought that I would never be married. But none of those things have lasted. And Shakespeare allows me to remember, and to be OK with, the ins and the outs. The rises and the falls of things.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new production of \u003ci>\u003cspan style=\"font-weight: 400\">Othello \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">opened this weekend at Northern California’s \u003ca href=\"http://marinshakespeare.org/\">Marin Shakespeare Company\u003c/a>. The lead actor, Dameion Brown, has never appeared on a professional stage before. In fact, just last year, he was paroled after spending 23 years in California state prison. Now he’s tackling one of Shakespeare’s most difficult characters.\u003c/span>\u003c/p>\n\u003cp>Othello is a controversial play, dealing with race, love and violence. In case you need the Cliffs Notes: After he’s convinced that his wife is deceiving him, Othello, a Moorish general, kills his fair-skinned Venetian wife, Desdemona.\u003c/p>\n\u003cp>I spoke with Dameion Brown at KQED’s studio in San Francisco.\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/281146281&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/281146281'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>What is it about Othello that drew you to that role?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>DAMEION BROWN:\u003c/strong> One of the main things is the fact that I had won that lead in junior high. And that production never went on. You’re looking at a 14-year-old black boy with a 14-year-old white girl, in the South. There were strong feelings from the parents -- the African-American parents and the white parents -- of how they wanted their children to interact in a play such as that. So that performance never took place. And it was something that stuck in my mind a long time.\u003c/p>\n\u003cp>\u003cb>So, now you're getting a chance to play Othello, finally. How do you establish an emotional connection to this character, from a play written almost 400 years ago?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> That is the easiest part. Life experiences prepare you for the ebbs and flows of emotion. I understand betrayal. I understand confusion. I understand jealousy. I understand the pain of harming someone you love. I don't have to dig deep to get in touch with those things, because they make up who I am. Had it been a comedy, that would have required a lot more work from me!\u003c/p>\n\u003cp>\u003cb>You mention understanding the pain of harming someone you love. I know that you were sentenced to life, basically for being physically abusive to your own kids.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes. And it is indeed a fact: I believed in corporal punishment. And I did inflict corporal punishment. It’s also a fact that I was charged with certain things, and I was convicted of certain things. But it is also a fact that the things which I did have not been presented in the right way. What was true was that I was very physical with my children, because I understood that to be the way that a parent reared a child -- with the switch, with the belt -- because this is what I knew, coming from the South. Over time, I learned better.\u003c/p>\n\u003cp>\u003cb>You were charged with harming your 3-year-old daughter, and leaving her disfigured. Those are pretty serious charges.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Very serious charges. And it was a very real conviction. And it was a very real 23 years that I spent. But a very inaccurate story of what occurred.\u003c/p>\n\u003cp>\u003cb>So what did occur?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> It was neglect. Trying to do all these things at once. Trying to prepare for a job interview, trying to answer the door, trying to feed some of the children, trying to bathe some of the children, trying to get a bottle into the bedroom with my newborn with my wife. And forgetting I had a child in the bathtub. When these accidents occur, and someone looks and says, \"Well, you switch your children, you whip your children, you leave marks on your children,\" you lose all benefit of the doubt that an accident could occur.\u003c/p>\n\u003cp>\u003cb>You were paroled after 23 years, and the parole board eventually did agree that you were reformed. And the arts were a part of that, right? You participated in a Shakespeare production while you were serving time.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> \u003cem>Macbeth.\u003c/em> And it was a very good thing. I learned a lot. Sometimes, through an examination of another life -- even if it be a fictitious character -- it is impossible that at 2 in the morning when you're in the solitude of your own thoughts, you can’t identify with the parallel that exists within yourself.\u003c/p>\n\u003cp>\u003cb>Outside of acting, you have a job \u003ca href=\"http://communityworkswest.org/about-us/\">mentoring young people\u003c/a> who are at risk. Are any of them going to see you in \u003cem>Othello\u003c/em>?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Definitely. They have all expressed great interest in coming to see it. I want them to see that someone who did 23 years in prison, who is still sometimes thought of as some of the Venetians thought of the Moor, can achieve this. And let them know it’s OK to try something different. You don’t have to cuss all day. I can say “thee,” “thou” and “thither.” Broaden your horizon.\u003c/p>\n\u003cp>\u003cb>Your own life has had some Shakespearean twists. You're now out on parole. I understand you're married now, to a woman who was a former guard at Soledad. It's all kind of Shakespearean.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes, we live these comedies and these tragedies, and they are the ebbs and flows of life. There was a time when I thought that I would never be out of prison. There was a time when I thought that I would never be married. But none of those things have lasted. And Shakespeare allows me to remember, and to be OK with, the ins and the outs. The rises and the falls of things.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: An Icon of Minimalism, a Standup Politician, and a Cure for Those Post-Labor Day Back-to-Work Blues",
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"headTitle": "Cy and David’s Picks: An Icon of Minimalism, a Standup Politician, and a Cure for Those Post-Labor Day Back-to-Work Blues | KQED",
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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/280972596″ 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=–hus_Sq6k4\u003c/p>\n\u003cp>\u003cstrong>Sept. 7-11: \u003c/strong>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony (SFS)\u003c/a> kicks off the season with a few pop favorites, but also an 80th birthday tribute to \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Steve-Reich-An-American-Maverick.aspx\" target=\"_blank\" rel=\"noopener\">Steve Reich\u003c/a>, a pioneer of minimalism, and a former Mils College student. Skip the gala on Wednesday (though mezzo-soprano Susan Graham and soprana Rene Fleming will provide terrific ear candy), and catch one of the shows Friday through Sunday, when Reich will take a bigger share of the program. Conductor and Music Director Michael Tilson Thomas, a longtime champion of Reich and other American mavericks, has invited both the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> and \u003ca href=\"http://www.eighthblackbird.org/\" target=\"_blank\" rel=\"noopener\">Eighth Blackbird\u003c/a> to help out as they explore a classic set of Reich compositions including “Double Sextet,” “Three Movements,” “Six Marimbas and “Different Trains.” Minimalism was never more complex.\u003c/p>\n\u003cdiv class=\"work-credit program-item\">\n\u003cfigure id=\"attachment_12010490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg\" alt=\"Tracy Letts, author of 'August: Osage County'\" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1180x860.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1920x1400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-960x700.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Letts, author of ‘August: Osage County’ \u003ccite>(Photo: Courtesy of Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp>\u003cstrong>Sept. 8-Oct. 2:\u003c/strong> The Marin Theatre Company had a great season last year, and kicks off its 50th year with the challenging August: Osage County by Tracy Letts. This Pulitzer Prize winner is about a very dysfunctional family gathering in Oklahoma (“O’Neill for Okies” in one description), and is based on some Letts’ own family history. Don’t judge this based on the over-the-top Meryl Streep, Julia Roberts, Chris Cooper, Sam Shepard film. It’s a much more nuanced powerhouse on stage. Details \u003ca href=\"http://www.marintheatre.org/productions/august-osage-county\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OuVGbdiMmLY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 4:\u003c/strong> \u003ca href=\"https://thewhitepanda.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The White Panda\u003c/a> are two boyhood friends from Chicago who were easily distractable in college, and are now among the leading DJ duos in the country, specializing in mashups of pop, rock and hip hop hits. \u003cem>Entertainment Weekly\u003c/em> has called The White Panda “a veritable party machine,” with more than 100 million SoundCloud & YouTube streams. With great success comes great responsibility or not. Details for their show Sunday at The Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1201405-white-panda-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010696\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg\" alt=\"Tom Ammiano opens a new solo show at The Marsh in San Francisco\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1920x1355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-960x678.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Ammiano opens a new solo show at The Marsh in San Francisco \u003ccite>(Photo: Cody Pickens/The Marsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 8-Oct. 15\u003c/strong>: Tom Ammiano is back on the stage in San Francisco. The former teacher, school board president, supervisor, and state assemblyman used to do standup at the now defunct Josies Cabaret in the Castro before running for public office. He’s a voice for LGBTQ rights, access to health care and other progressive causes throughout his political life, but also in his comedy work. You can hear his weakness for a punchline in this exchange where he explained how he educated his fellow lawmakers about sexual politics, including one Republican assemblywoman who insisted on saying being gay was a sexual preference: “And she kept saying on the floor, ‘sexual preference.’ And I did go up to her and said my sexual orientation is gay, but my sexual preference is Brad Pitt.” Details for the run of Ammiano’s show \u003cem>Mincing Words\u003c/em> at the Marsh in San Francisco are \u003ca href=\"http://themarsh.org/mincing_words/tom-ammiano/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yS2IBMQIjDo\u003c/p>\n\u003cp>\u003cstrong>Sept. 3-5:\u003c/strong> So maybe Labor Day is not our last chance for summer fun (summer ends Sept. 21, duh) but that’s the ritual, and we respect any ritual that demands we take in some live entertainment. So here are some choices:\u003c/p>\n\u003cp>Take the ferry to the annual Sausalito Art Festival, where the Squirrel Nut Zippers are on the bill with The Blind Boys of Alabahama, Charlie Musselwhite, and The Zombies (kind of zombified after 54 years of touring). Details \u003ca href=\"http://sausalitoartfestival.org/entertainment-2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>Tradition also demands that we mention The Scottish Highland Games, where kilts and good beer are appreciated along with the caber tossing. Details for the two-day fest at the Alameda County Fairgrounds are \u003ca href=\"http://www.thescottishgames.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png\" alt=\"SF Comic Con \" width=\"800\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-400x147.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con.png 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Comic Con \u003ccite>(Photo: Courtesy of San Francisco Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No rest for the geeks over Labor Day. \u003ca href=\"http://sanfrancomiccon.com/\" target=\"_blank\" rel=\"noopener\">Comic Con\u003c/a> comes to San Francisco for the first time, with \u003cem>\u003ca href=\"https://www.netflix.com/title/80002311\" target=\"_blank\" rel=\"noopener\">Jessica Jones\u003c/a> \u003c/em>star Kristyn Ritter, \u003cem>Star Wars\u003c/em> Emperor Ian McDiarmid, cartoonists \u003ca href=\"http://www.savagedragon.com/\" target=\"_blank\" rel=\"noopener\">Erik J. Larsen\u003c/a> (From \u003ca href=\"https://imagecomics.com/\" target=\"_blank\" rel=\"noopener\">Image Comics\u003c/a>) and Paolo Rivera (an Eisner winner), plus Comic Con will feature the \u003ca href=\"http://cartoonart.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Cartoon Art Museum\u003c/a>, homeless now, but still active. Details here.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Cukui Music Festival \u003c/a>Saturday at Santa Clara’s Great America—with Reggae and R&B under the roller coaster. Ozomatli and Bayonics along with Tribal Seeds and others Details \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And for a Cheap Thrill!, try the Golden Gate Park Band at the Golden Gate Concourse on Sunday and Monday for free. Details \u003ca href=\"https://www.facebook.com/Golden-Gate-Park-Band-122062504515831/?hc_ref=PAGES_TIMELINE&fref=nf\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12010884\" class=\"wp-caption aligncenter\" style=\"max-width: 581px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12010884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg\" alt=\"The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \" width=\"581\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg 581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band-400x267.jpg 400w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \u003ccite>(Photo: Image courtesy of Golden Gate Park Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\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/280972596″&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/280972596″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\u003c/p>\u003cp>null\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 7-11: \u003c/strong>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony (SFS)\u003c/a> kicks off the season with a few pop favorites, but also an 80th birthday tribute to \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Steve-Reich-An-American-Maverick.aspx\" target=\"_blank\" rel=\"noopener\">Steve Reich\u003c/a>, a pioneer of minimalism, and a former Mils College student. Skip the gala on Wednesday (though mezzo-soprano Susan Graham and soprana Rene Fleming will provide terrific ear candy), and catch one of the shows Friday through Sunday, when Reich will take a bigger share of the program. Conductor and Music Director Michael Tilson Thomas, a longtime champion of Reich and other American mavericks, has invited both the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> and \u003ca href=\"http://www.eighthblackbird.org/\" target=\"_blank\" rel=\"noopener\">Eighth Blackbird\u003c/a> to help out as they explore a classic set of Reich compositions including “Double Sextet,” “Three Movements,” “Six Marimbas and “Different Trains.” Minimalism was never more complex.\u003c/p>\n\u003cdiv class=\"work-credit program-item\">\n\u003cfigure id=\"attachment_12010490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg\" alt=\"Tracy Letts, author of 'August: Osage County'\" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1180x860.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1920x1400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-960x700.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Letts, author of ‘August: Osage County’ \u003ccite>(Photo: Courtesy of Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp>\u003cstrong>Sept. 8-Oct. 2:\u003c/strong> The Marin Theatre Company had a great season last year, and kicks off its 50th year with the challenging August: Osage County by Tracy Letts. This Pulitzer Prize winner is about a very dysfunctional family gathering in Oklahoma (“O’Neill for Okies” in one description), and is based on some Letts’ own family history. Don’t judge this based on the over-the-top Meryl Streep, Julia Roberts, Chris Cooper, Sam Shepard film. It’s a much more nuanced powerhouse on stage. Details \u003ca href=\"http://www.marintheatre.org/productions/august-osage-county\" 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/OuVGbdiMmLY'\n title='//www.youtube.com/embed/OuVGbdiMmLY'\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. 4:\u003c/strong> \u003ca href=\"https://thewhitepanda.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The White Panda\u003c/a> are two boyhood friends from Chicago who were easily distractable in college, and are now among the leading DJ duos in the country, specializing in mashups of pop, rock and hip hop hits. \u003cem>Entertainment Weekly\u003c/em> has called The White Panda “a veritable party machine,” with more than 100 million SoundCloud & YouTube streams. With great success comes great responsibility or not. Details for their show Sunday at The Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1201405-white-panda-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010696\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg\" alt=\"Tom Ammiano opens a new solo show at The Marsh in San Francisco\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1920x1355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-960x678.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Ammiano opens a new solo show at The Marsh in San Francisco \u003ccite>(Photo: Cody Pickens/The Marsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 8-Oct. 15\u003c/strong>: Tom Ammiano is back on the stage in San Francisco. The former teacher, school board president, supervisor, and state assemblyman used to do standup at the now defunct Josies Cabaret in the Castro before running for public office. He’s a voice for LGBTQ rights, access to health care and other progressive causes throughout his political life, but also in his comedy work. You can hear his weakness for a punchline in this exchange where he explained how he educated his fellow lawmakers about sexual politics, including one Republican assemblywoman who insisted on saying being gay was a sexual preference: “And she kept saying on the floor, ‘sexual preference.’ And I did go up to her and said my sexual orientation is gay, but my sexual preference is Brad Pitt.” Details for the run of Ammiano’s show \u003cem>Mincing Words\u003c/em> at the Marsh in San Francisco are \u003ca href=\"http://themarsh.org/mincing_words/tom-ammiano/\" 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/yS2IBMQIjDo'\n title='//www.youtube.com/embed/yS2IBMQIjDo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 3-5:\u003c/strong> So maybe Labor Day is not our last chance for summer fun (summer ends Sept. 21, duh) but that’s the ritual, and we respect any ritual that demands we take in some live entertainment. So here are some choices:\u003c/p>\n\u003cp>Take the ferry to the annual Sausalito Art Festival, where the Squirrel Nut Zippers are on the bill with The Blind Boys of Alabahama, Charlie Musselwhite, and The Zombies (kind of zombified after 54 years of touring). Details \u003ca href=\"http://sausalitoartfestival.org/entertainment-2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>Tradition also demands that we mention The Scottish Highland Games, where kilts and good beer are appreciated along with the caber tossing. Details for the two-day fest at the Alameda County Fairgrounds are \u003ca href=\"http://www.thescottishgames.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png\" alt=\"SF Comic Con \" width=\"800\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-400x147.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con.png 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Comic Con \u003ccite>(Photo: Courtesy of San Francisco Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No rest for the geeks over Labor Day. \u003ca href=\"http://sanfrancomiccon.com/\" target=\"_blank\" rel=\"noopener\">Comic Con\u003c/a> comes to San Francisco for the first time, with \u003cem>\u003ca href=\"https://www.netflix.com/title/80002311\" target=\"_blank\" rel=\"noopener\">Jessica Jones\u003c/a> \u003c/em>star Kristyn Ritter, \u003cem>Star Wars\u003c/em> Emperor Ian McDiarmid, cartoonists \u003ca href=\"http://www.savagedragon.com/\" target=\"_blank\" rel=\"noopener\">Erik J. Larsen\u003c/a> (From \u003ca href=\"https://imagecomics.com/\" target=\"_blank\" rel=\"noopener\">Image Comics\u003c/a>) and Paolo Rivera (an Eisner winner), plus Comic Con will feature the \u003ca href=\"http://cartoonart.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Cartoon Art Museum\u003c/a>, homeless now, but still active. Details here.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Cukui Music Festival \u003c/a>Saturday at Santa Clara’s Great America—with Reggae and R&B under the roller coaster. Ozomatli and Bayonics along with Tribal Seeds and others Details \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And for a Cheap Thrill!, try the Golden Gate Park Band at the Golden Gate Concourse on Sunday and Monday for free. Details \u003ca href=\"https://www.facebook.com/Golden-Gate-Park-Band-122062504515831/?hc_ref=PAGES_TIMELINE&fref=nf\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12010884\" class=\"wp-caption aligncenter\" style=\"max-width: 581px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12010884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg\" alt=\"The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \" width=\"581\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg 581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band-400x267.jpg 400w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \u003ccite>(Photo: Image courtesy of Golden Gate Park Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Opera Theater Reemerges with Musical if Gimmicky 'Uksus'",
"headTitle": "Oakland Opera Theater Reemerges with Musical if Gimmicky ‘Uksus’ | KQED",
"content": "\u003cp>Opera is a difficult business. So much can go wrong. Even if you have a fine composer, excellent musicians, a strong conductor, and seasoned singers, success is often still highly elusive.\u003c/p>\n\u003cp>Such, regrettably, is the case for \u003cem>Uksus\u003c/em> (“Vinegar”) by composer \u003ca href=\"http://blog.erlingwold.com/\" target=\"_blank\" rel=\"noopener\">Erling Wold\u003c/a>. The chamber opera is based on the life of surrealist writer Daniil Kharms and the short-lived but influential 1930s Soviet avant-garde collective OBERIU. It’s the latest production from the newly resurrected \u003ca href=\"http://www.oaklandopera.org/\" target=\"_blank\" rel=\"noopener\">Oakland Opera Theater\u003c/a> (OOT) at Oakland Metro Opera House, a capacious and multi-faceted black box theater near Jack London Square that also hosts metal shows and underground wrestling matches.\u003c/p>\n\u003cp>Bay Area composer Wold is known for his chamber operas. The first of these, \u003cem>A Little Girl Dreams of Taking the Vei\u003c/em>l, brought him to the attention of OOT in the 1990s.\u003c/p>\n\u003cp>Wold’s musically-captivating if theatrically disorienting \u003cem>Uksus\u003c/em>, which premiered in San Francisco in 2015 to lesser acclaim than his previous opera, \u003cem>Certitude and Joy\u003c/em>, has been revived here with much of the same cast and crew. The only notable exception is the replacement of Duncan Wold (the composer’s son) in the role of Pushkin — Kharms’ used the famous Russian author’s name as an alias.\u003c/p>\n\u003cfigure id=\"attachment_12006046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006046 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909.jpg 1991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikola Printz as Stalin and Timur Bekbosunov as Pushkin in Act IV of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music, performed by a small, agile orchestra neatly conducted by Bryan Nies, is a captivating mixture of minimalist arpeggios coupled with jazz. There’s also a little Eastern European styling thrown in for good measure. The talented cast, which includes the inimitable soprano Laura Bohn as Fefjulka and the rich-voiced mezzo Nikola Printz as Our Mama (and in the last act, Stalin), performs the work’s many duets and trios with precision and passion. Tenor Timur Bekbosunov handles the title role capably and flamboyantly.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, the staging of the opera, directed by Jim Cave, doesn’t match the memorable music. The gimmicky feel of the mise-en-scene begins as soon as you entered the venue, with Soviet border guards ordering patrons about, demanding passports and creating a sense of havoc and confusion. We see Pushkin resting on a stretcher. Funeral rites are performed. Another performer declares himself to be a samovar, and gives us a brief sketch of Kharms’ life before ushering us into the house.\u003c/p>\n\u003cp>This pre-performance charade sets the tone for the evening — one that’s absurd and not just a little pretentious. The cast attempts to hold our attention by surrounding us and making eye contact with individuals. One performer even aggressively tried to sweep my feet away from under me with a broom on opening night when I saw the show. Yet the piece lacks enough to grasp onto as far as drama goes. It dissolves into simple spectacle.\u003c/p>\n\u003cfigure id=\"attachment_12006045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006045 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antics of the OBERIU in Act III of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the plot goes through points of Kharms’ life as a children’s writer, husband, founder of OBERIU, and psychiatric ward prisoner, Wold doesn’t do enough to flesh out his main character. Instead, we get a wacky discourse on meatballs (the dish is apparently what the piece is about, according to a line in Act II), an enormous puppet robot, and dodge balls thrown in our direction.\u003c/p>\n\u003cp>This uneven production comes off as an ambiguous sign for the daring and gritty little Oakland Opera Theater, best known for mounting the well-received west coast premiere of Philip Glass’ \u003cem>Akhnaten\u003c/em> in 2004. The company all but disappeared in 2009, going from two opera productions annually to one every two years.\u003c/p>\n\u003cp>The company’s progress has been hampered in part by real estate woes. It has had to move twice in the last decade. But it’s forging ahead nonetheless.\u003c/p>\n\u003cp>Next up, if OOT manages to sort out a dispute with one of its current neighbors, the organization plans to stage a collaboration with \u003ca href=\"http://touretteswithoutregrets.com/\" target=\"_blank\" rel=\"noopener\">Tourettes without Regrets\u003c/a>, poet Jamie DeWolf’s monthly genre-defying performance art show also at the Oakland Metro. The project is a \u003cem>Romeo and Juliet\u003c/em> opera featuring audience participation. Unlike \u003cem>Uksus\u003c/em>, hopefully the “immersive theater” elements next time around won’t stand in the way of the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Uksus\u003c/em> plays through Sunday, Sep. 4 at Oakland Metro Opera House in Oakland. For tickets and information, please click \u003ca href=\"http://www.oaklandmetro.org/event/246046\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera is a difficult business. So much can go wrong. Even if you have a fine composer, excellent musicians, a strong conductor, and seasoned singers, success is often still highly elusive.\u003c/p>\n\u003cp>Such, regrettably, is the case for \u003cem>Uksus\u003c/em> (“Vinegar”) by composer \u003ca href=\"http://blog.erlingwold.com/\" target=\"_blank\" rel=\"noopener\">Erling Wold\u003c/a>. The chamber opera is based on the life of surrealist writer Daniil Kharms and the short-lived but influential 1930s Soviet avant-garde collective OBERIU. It’s the latest production from the newly resurrected \u003ca href=\"http://www.oaklandopera.org/\" target=\"_blank\" rel=\"noopener\">Oakland Opera Theater\u003c/a> (OOT) at Oakland Metro Opera House, a capacious and multi-faceted black box theater near Jack London Square that also hosts metal shows and underground wrestling matches.\u003c/p>\n\u003cp>Bay Area composer Wold is known for his chamber operas. The first of these, \u003cem>A Little Girl Dreams of Taking the Vei\u003c/em>l, brought him to the attention of OOT in the 1990s.\u003c/p>\n\u003cp>Wold’s musically-captivating if theatrically disorienting \u003cem>Uksus\u003c/em>, which premiered in San Francisco in 2015 to lesser acclaim than his previous opera, \u003cem>Certitude and Joy\u003c/em>, has been revived here with much of the same cast and crew. The only notable exception is the replacement of Duncan Wold (the composer’s son) in the role of Pushkin — Kharms’ used the famous Russian author’s name as an alias.\u003c/p>\n\u003cfigure id=\"attachment_12006046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006046 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909.jpg 1991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikola Printz as Stalin and Timur Bekbosunov as Pushkin in Act IV of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music, performed by a small, agile orchestra neatly conducted by Bryan Nies, is a captivating mixture of minimalist arpeggios coupled with jazz. There’s also a little Eastern European styling thrown in for good measure. The talented cast, which includes the inimitable soprano Laura Bohn as Fefjulka and the rich-voiced mezzo Nikola Printz as Our Mama (and in the last act, Stalin), performs the work’s many duets and trios with precision and passion. Tenor Timur Bekbosunov handles the title role capably and flamboyantly.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, the staging of the opera, directed by Jim Cave, doesn’t match the memorable music. The gimmicky feel of the mise-en-scene begins as soon as you entered the venue, with Soviet border guards ordering patrons about, demanding passports and creating a sense of havoc and confusion. We see Pushkin resting on a stretcher. Funeral rites are performed. Another performer declares himself to be a samovar, and gives us a brief sketch of Kharms’ life before ushering us into the house.\u003c/p>\n\u003cp>This pre-performance charade sets the tone for the evening — one that’s absurd and not just a little pretentious. The cast attempts to hold our attention by surrounding us and making eye contact with individuals. One performer even aggressively tried to sweep my feet away from under me with a broom on opening night when I saw the show. Yet the piece lacks enough to grasp onto as far as drama goes. It dissolves into simple spectacle.\u003c/p>\n\u003cfigure id=\"attachment_12006045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006045 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antics of the OBERIU in Act III of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the plot goes through points of Kharms’ life as a children’s writer, husband, founder of OBERIU, and psychiatric ward prisoner, Wold doesn’t do enough to flesh out his main character. Instead, we get a wacky discourse on meatballs (the dish is apparently what the piece is about, according to a line in Act II), an enormous puppet robot, and dodge balls thrown in our direction.\u003c/p>\n\u003cp>This uneven production comes off as an ambiguous sign for the daring and gritty little Oakland Opera Theater, best known for mounting the well-received west coast premiere of Philip Glass’ \u003cem>Akhnaten\u003c/em> in 2004. The company all but disappeared in 2009, going from two opera productions annually to one every two years.\u003c/p>\n\u003cp>The company’s progress has been hampered in part by real estate woes. It has had to move twice in the last decade. But it’s forging ahead nonetheless.\u003c/p>\n\u003cp>Next up, if OOT manages to sort out a dispute with one of its current neighbors, the organization plans to stage a collaboration with \u003ca href=\"http://touretteswithoutregrets.com/\" target=\"_blank\" rel=\"noopener\">Tourettes without Regrets\u003c/a>, poet Jamie DeWolf’s monthly genre-defying performance art show also at the Oakland Metro. The project is a \u003cem>Romeo and Juliet\u003c/em> opera featuring audience participation. Unlike \u003cem>Uksus\u003c/em>, hopefully the “immersive theater” elements next time around won’t stand in the way of the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Uksus\u003c/em> plays through Sunday, Sep. 4 at Oakland Metro Opera House in Oakland. For tickets and information, please click \u003ca href=\"http://www.oaklandmetro.org/event/246046\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A Family String Band, New Ways to See Shakespeare’s Moor, Feeling Mortal",
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"content": "\u003cp>\u003cb>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/b>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/279907304″ 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\u003chr>\n\u003cp>https://www.youtube.com/watch?v=oLARQ8c_Z8k\u003c/p>\n\u003cp>\u003cstrong>Aug. 26-28:\u003c/strong> Violinist and composer \u003ca href=\"http://www.markoconnor.com/o-connor-band\" target=\"_blank\" rel=\"noopener\">Mark O’Connor \u003c/a>debuted at the Grand Ole Opry at the age of 12, and has played with everyone from Stéphane Grappelli to Dolly Parton to Yo Yo Ma. Now he’s featuring wife Maggie (also on violin), their son Forrest on mandolin, plus lead singer Kate Lee, Forrest’s fiancé in the O’Connor family band. I’m guessing this is a very tight group, except when they’re bickering like crazy. David says he gets the chills thinking about how the Grappelli link ties O’Connor to the work of the great gypsy jazz guitarist Django Reinhardt (born 1910), so there will be a century-and-change of music history at the O’Connor Band’s shows on Aug. 26 at \u003ca href=\"https://www.kuumbwajazz.org/calendar/7pm-mark-oconnor8-26-16/\" target=\"_blank\" rel=\"noopener\">Kuumbwa Jazz\u003c/a> in Santa Cruz, Aug. 27 \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=518\" target=\"_blank\" rel=\"noopener\">at the Lesher Center in Walnut Creek\u003c/a>, and Aug 28 at \u003ca href=\"http://www.thefreight.org/mark-oconnors-oconnor-band\" target=\"_blank\" rel=\"noopener\">Freight and Salvage in Berkeley\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EiSC2VzQznA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Aug 26-28\u003c/strong>: \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">The Black Choreographers Festival\u003c/a> is doing its first summer series, with some of the region’s best African American choreographers trying out new material. They’re tackling big issues like the anxiety of being a young black man and gentrification in Oakland. Look for work from \u003ca href=\"https://www.dimensionsdance.org/\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, \u003ca href=\"http://www.dawsondancesf.org/\" target=\"_blank\" rel=\"noopener\">Dawson Dance SF’s\u003c/a> founding director Gregory Dawson, Urban Jazz Dance Company, LA’s JazzAntiqua Dance Ensemble, and several youth dance companies, including the terrific \u003ca href=\"http://cultureshockdance.org/oakland/\" target=\"_blank\" rel=\"noopener\">Culture Shock Oakland\u003c/a> (see their work in the video above). Details for the three day Black Choreographers Festival are \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cQbQfkinWCo\u003c/p>\n\u003cp>\u003cstrong>Aug. 28\u003c/strong>: \u003ca href=\"http://www.ecrmusicgroup.com/artists/blake-morgan/\" target=\"_blank\" rel=\"noopener\">Blake Morgan \u003c/a>is a singer-songwriter who is also well known for his advocacy for the rights of performers and for his family background as for his music. He started an \u003ca href=\"http://irespectmusic.org/\" target=\"_blank\" rel=\"noopener\">online petition\u003c/a> to fight for royalties for performing artists when their records are played on the radio. He’s the one who lured \u003ca href=\"http://www.ecrmusicgroup.com/artists/lesley-gore/\" target=\"_blank\" rel=\"noopener\">Lesley Gore\u003c/a> out of semi-retirement to record an album a few years ago for Morgan’s own label, and he’s the son of proto-feminist Robin Morgan who coined the term, “The personal is political.” And his dad is Kenneth Pitchford, an original member of the Gay Liberation Front. Did we mention Morgan’s a terrific songwriter? Details for his show at the Hotel Utah on Sunday are \u003ca href=\"http://www.hotelutah.com/event/1205461-janita-blake-morgan-pat-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11980102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11980102 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-800x505.jpg\" alt=\"Dameion Brown is ‘Othello’ at Marin Shakespeare Company\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-1180x745.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-1920x1212.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dameion Brown is ‘Othello’ at Marin Shakespeare Company \u003ccite>(Photo: Steven Underwood/Marin Shakes )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 26-Sept. 25 & Sept. 14-Oct. 9:\u003c/strong> In a time of heightened racial tension, we’re highlighting two productions of \u003cem>Othello\u003c/em>, one of Shakespeare’s most enduring tragic heroes. Othello was the Moor, the other, the black man in a white society, who had to be better than everyone else to fit in, and yet was still plotted against and driven mad to the point of homicide. Actor \u003ca href=\"http://marinshakespeare.org/2016/07/29/meet-dameion-brown/\" target=\"_blank\" rel=\"noopener\">Dameion Brown\u003c/a>, a former Solano State Prison inmate, plays Othello at the \u003ca href=\"http://marinshakespeare.org/on-stage/\" target=\"_blank\" rel=\"noopener\">Marin Shakespeare Company\u003c/a>, and Brown told me he feels a lot in common with the character. “I know the feeling of being viewed as not good enough,” Brown said in a phone interview. “These things \u003cem>Othello\u003c/em> went through, the racism, even though he was the greatest general they had. He was still looked upon as the Moor, and back in the Elizabethan era, it was not much different than the n-word is used by others toward African-Americans today.” Details \u003ca href=\"http://marinshakespeare.org/tickets/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=82BMdcJFkYM\u003c/p>\n\u003cp>Meanwhile, California Shakespeare Theater’s new Artistic Director Eric Ting directs actor Aldo Billingslea (also Provost for Diversity at Santa Clara University) as the titular character in their production of \u003cem>Othello\u003c/em>. Billingslea was terrific in August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes earlier this year. Liz Sklar plays Desdemona. Details for Cal Shakes production are \u003ca href=\"https://tickets.calshakes.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11980266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11980266 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Quantum-Dragon-Theater-800x328.jpg\" alt=\"Quantum Dragon Theatre Founding Members\" width=\"800\" height=\"328\">\u003cfigcaption class=\"wp-caption-text\">Quantum Dragon Theatre’s Founding Members \u003ccite>(Photo: Courtesy Quantum Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 26-Sept. 10\u003c/strong>: \u003ca href=\"http://www.quantumdragon.org/\" target=\"_blank\" rel=\"noopener\">Quantum Dragon Theatre\u003c/a> is a new company focusing on works of science fiction and fantasy, both new and classic. Their first play is \u003ca href=\"http://www.quantumdragon.org/#!speed-of-light/no57l\" target=\"_blank\" rel=\"noopener\">\u003cem>Speed of Light\u003c/em>\u003c/a> by by Bella Poynton, about Mayra, a woman scientist who also has a drug addiction, as she discovers the secret to traveling at light speed. Details \u003ca href=\"http://www.quantumdragon.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bEtDVy55shI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 30 & Sept 2-3\u003c/strong>: The \u003ca href=\"http://unknownmortalorchestra.com/\" target=\"_blank\" rel=\"noopener\">Unknown Mortal Orchestra\u003c/a> is a very odd trio playing retro 70’s funk and disco. But founder Ruban Nielson likes to thrash out thoroughly 21st century issues in his lyrics, including polyamory and heartache on last year’s \u003cem>Multi-Love\u003c/em>: “Checked into my heart and trashed it like a hotel room. Who is your God? Where is she?” Which doesn’t mean they don’t have some fun as well with their psychedelic take on The Grateful Dead’s \u003ca href=\"https://www.youtube.com/watch?v=dtQd-i4pIBA\" target=\"_blank\" rel=\"noopener\">“Shakedown Street.”\u003c/a> Your best chance to catch the band is at the Lagunitas Brewing Company in Petaluma on Tuesday Aug. 30. Details \u003ca href=\"https://lagunitas.com/music/unknownmortalorchestra\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> But they’re also doing a pair of sold out shows (opening for Tame Impala) at the Greek in Berkeley Sept 2 & 3rd. Details \u003ca href=\"http://www.livenation.com/events/534029-sep-3-2016-tame-impala\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 26-28\u003c/strong>: \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">The Black Choreographers Festival\u003c/a> is doing its first summer series, with some of the region’s best African American choreographers trying out new material. They’re tackling big issues like the anxiety of being a young black man and gentrification in Oakland. Look for work from \u003ca href=\"https://www.dimensionsdance.org/\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, \u003ca href=\"http://www.dawsondancesf.org/\" target=\"_blank\" rel=\"noopener\">Dawson Dance SF’s\u003c/a> founding director Gregory Dawson, Urban Jazz Dance Company, LA’s JazzAntiqua Dance Ensemble, and several youth dance companies, including the terrific \u003ca href=\"http://cultureshockdance.org/oakland/\" target=\"_blank\" rel=\"noopener\">Culture Shock Oakland\u003c/a> (see their work in the video above). Details for the three day Black Choreographers Festival are \u003ca href=\"http://www.bcfhereandnow.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/cQbQfkinWCo'\n title='//www.youtube.com/embed/cQbQfkinWCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 28\u003c/strong>: \u003ca href=\"http://www.ecrmusicgroup.com/artists/blake-morgan/\" target=\"_blank\" rel=\"noopener\">Blake Morgan \u003c/a>is a singer-songwriter who is also well known for his advocacy for the rights of performers and for his family background as for his music. He started an \u003ca href=\"http://irespectmusic.org/\" target=\"_blank\" rel=\"noopener\">online petition\u003c/a> to fight for royalties for performing artists when their records are played on the radio. He’s the one who lured \u003ca href=\"http://www.ecrmusicgroup.com/artists/lesley-gore/\" target=\"_blank\" rel=\"noopener\">Lesley Gore\u003c/a> out of semi-retirement to record an album a few years ago for Morgan’s own label, and he’s the son of proto-feminist Robin Morgan who coined the term, “The personal is political.” And his dad is Kenneth Pitchford, an original member of the Gay Liberation Front. Did we mention Morgan’s a terrific songwriter? Details for his show at the Hotel Utah on Sunday are \u003ca href=\"http://www.hotelutah.com/event/1205461-janita-blake-morgan-pat-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11980102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11980102 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-800x505.jpg\" alt=\"Dameion Brown is ‘Othello’ at Marin Shakespeare Company\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-1180x745.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-1920x1212.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dameion Brown is ‘Othello’ at Marin Shakespeare Company \u003ccite>(Photo: Steven Underwood/Marin Shakes )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 26-Sept. 25 & Sept. 14-Oct. 9:\u003c/strong> In a time of heightened racial tension, we’re highlighting two productions of \u003cem>Othello\u003c/em>, one of Shakespeare’s most enduring tragic heroes. Othello was the Moor, the other, the black man in a white society, who had to be better than everyone else to fit in, and yet was still plotted against and driven mad to the point of homicide. Actor \u003ca href=\"http://marinshakespeare.org/2016/07/29/meet-dameion-brown/\" target=\"_blank\" rel=\"noopener\">Dameion Brown\u003c/a>, a former Solano State Prison inmate, plays Othello at the \u003ca href=\"http://marinshakespeare.org/on-stage/\" target=\"_blank\" rel=\"noopener\">Marin Shakespeare Company\u003c/a>, and Brown told me he feels a lot in common with the character. “I know the feeling of being viewed as not good enough,” Brown said in a phone interview. “These things \u003cem>Othello\u003c/em> went through, the racism, even though he was the greatest general they had. He was still looked upon as the Moor, and back in the Elizabethan era, it was not much different than the n-word is used by others toward African-Americans today.” Details \u003ca href=\"http://marinshakespeare.org/tickets/\" 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/82BMdcJFkYM'\n title='//www.youtube.com/embed/82BMdcJFkYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, California Shakespeare Theater’s new Artistic Director Eric Ting directs actor Aldo Billingslea (also Provost for Diversity at Santa Clara University) as the titular character in their production of \u003cem>Othello\u003c/em>. Billingslea was terrific in August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes earlier this year. Liz Sklar plays Desdemona. Details for Cal Shakes production are \u003ca href=\"https://tickets.calshakes.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11980266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11980266 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Quantum-Dragon-Theater-800x328.jpg\" alt=\"Quantum Dragon Theatre Founding Members\" width=\"800\" height=\"328\">\u003cfigcaption class=\"wp-caption-text\">Quantum Dragon Theatre’s Founding Members \u003ccite>(Photo: Courtesy Quantum Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 26-Sept. 10\u003c/strong>: \u003ca href=\"http://www.quantumdragon.org/\" target=\"_blank\" rel=\"noopener\">Quantum Dragon Theatre\u003c/a> is a new company focusing on works of science fiction and fantasy, both new and classic. Their first play is \u003ca href=\"http://www.quantumdragon.org/#!speed-of-light/no57l\" target=\"_blank\" rel=\"noopener\">\u003cem>Speed of Light\u003c/em>\u003c/a> by by Bella Poynton, about Mayra, a woman scientist who also has a drug addiction, as she discovers the secret to traveling at light speed. Details \u003ca href=\"http://www.quantumdragon.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/bEtDVy55shI'\n title='//www.youtube.com/embed/bEtDVy55shI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 30 & Sept 2-3\u003c/strong>: The \u003ca href=\"http://unknownmortalorchestra.com/\" target=\"_blank\" rel=\"noopener\">Unknown Mortal Orchestra\u003c/a> is a very odd trio playing retro 70’s funk and disco. But founder Ruban Nielson likes to thrash out thoroughly 21st century issues in his lyrics, including polyamory and heartache on last year’s \u003cem>Multi-Love\u003c/em>: “Checked into my heart and trashed it like a hotel room. Who is your God? Where is she?” Which doesn’t mean they don’t have some fun as well with their psychedelic take on The Grateful Dead’s \u003ca href=\"https://www.youtube.com/watch?v=dtQd-i4pIBA\" target=\"_blank\" rel=\"noopener\">“Shakedown Street.”\u003c/a> Your best chance to catch the band is at the Lagunitas Brewing Company in Petaluma on Tuesday Aug. 30. Details \u003ca href=\"https://lagunitas.com/music/unknownmortalorchestra\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> But they’re also doing a pair of sold out shows (opening for Tame Impala) at the Greek in Berkeley Sept 2 & 3rd. Details \u003ca href=\"http://www.livenation.com/events/534029-sep-3-2016-tame-impala\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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]
},
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"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
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"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
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"filters": [
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}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
