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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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"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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"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: 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": "\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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"excerpt": "Erling Wold's chamber opera based on the life of surrealist writer Daniil Kharms features inspiring music but off-putting theatrics. ",
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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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"slug": "cy-and-davids-picks-a-family-string-band-new-ways-to-see-shakespeares-moor-feeling-mortal",
"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>\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>\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/279907304″&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/279907304″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003chr>\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/oLARQ8c_Z8k'\n title='//www.youtube.com/embed/oLARQ8c_Z8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\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/EiSC2VzQznA'\n title='//www.youtube.com/embed/EiSC2VzQznA'\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>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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"slug": "the-end-of-yellowface-and-blackface-or-not",
"title": "Bay Area Theater Co's Work to End Yellowface and Blackface in Shows",
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"headTitle": "Bay Area Theater Co’s Work to End Yellowface and Blackface in Shows | KQED",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/279564976″ 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>When \u003ca href=\"http://ww2.kqed.org/arts/2016/08/22/lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison/\" target=\"_blank\" rel=\"noopener\">Gilbert and Sullivan\u003c/a> opened their musical \u003cem>The Mikado\u003c/em> at the \u003ca href=\"http://www.savoy.org/\" target=\"_blank\" rel=\"noopener\">Savoy Theatre\u003c/a> in London in 1885, the first lines were sung by a chorus of kimono clad men. “If you want to know who we are, We are gentlemen of Japan.”\u003c/p>\n\u003cp>When the \u003ca href=\"http://www.lamplighters.org/\" target=\"_blank\" rel=\"noopener\">Lamplighters Music Theatre\u003c/a> opened their production at the Lesher Center for the Arts a few days ago, the chorus sang something a little different, “If you want to know who we are. We are gentlemen of Milan.”\u003c/p>\n\u003cfigure id=\"attachment_11957008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11957008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg\" alt=\"A scene from the Lamplighters version of 'The Mikado'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Lamplighters version of ‘The Mikado’ \u003ccite>(Photo: Lucas Buxman/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So how did the story end up in Italy. We’ll explain that in a minute, but it’s not what the Lamplighters first had in mind.\u003c/p>\n\u003cp>They planned for a traditional Japanese \u003cem>Mikado\u003c/em>, but with some Asian American actors, to avoid the controversies over yellowface that had plagued productions in Seattle and New York. (“Yellowface” is the Asian version of blackface, where white actors play Asian Americans with yellow makeup and eyeliner to make the eyes more slanted.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So last winter, Lamplighters’ Managing Director Sarah Vardigans set a meeting with \u003ca href=\"http://www.lilytungcrystal.com/\" target=\"_blank\" rel=\"noopener\">Lily Tung Crystal\u003c/a>, a leading Bay Area Asian American theater artist. But Vardigans says it didn’t go well.\u003c/p>\n\u003cp>“We had a difficult meeting with Lily,” Vardigans said in a recent interview. “She was very clear that the Asian Community would not support our production if we could not commit to one hundred percent Asian casting.\u003c/p>\n\u003cp>That was a deal breaker for Vardigans. “For a Gilbert and Sullivan company to commit to 100 percent Asian casting,” Vardigans said, “when we typically have ten percent Asian casting is just not practical.”\u003c/p>\n\u003cp>Crystal, who runs \u003ca href=\"http://www.ferociouslotus.org/\" target=\"_blank\" rel=\"noopener\">Ferocious Lotus Theater company\u003c/a>, was unhappy at the compromise Vardigans offered, that the white actors wouldn’t wear yellowface makeup. “We had an issue with that,” Crystal said recently. “Because we would argue that having Caucasian actors play Asian roles constitutes yellowface.”\u003c/p>\n\u003cfigure id=\"attachment_11967397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967397\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png\" alt=\"Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-400x224.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297.png 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal \u003ccite>(Photo: Courtesy of Ferocious Lotus Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t do black minstrel shows and blackface, because that’s not accepted anymore,” Crystal added. “So the question is: why, when it comes to the Asian community, it’s still okay for a Caucasian actor to play an Asian role.”\u003c/p>\n\u003cp>The fact is, yellowface and blackface are common on stages and movie screens around the world. The classic yellowface example from the past are the thousands of amateur and professional production of \u003cem>The Mikado\u003c/em>. In the movies, Micky Rooney’s farcical portrayal of Mr Yoniushi in the film version of \u003cem>Breakfast at Tiffany’s\u003c/em> has embarassed generations of Asian Americans. And just last year, the white Emma Stone played an Asian American named Alison Ng in Cameron Crowe’s movie \u003cem>Aloha,\u003c/em> which also garnered criticism.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I6H4eQhllVM\u003c/p>\n\u003cp>As for blackface, the American Ballet Theatre, the home of African-American dancer Misty Copeland, put dark brown makeup on the Brazilian dancer Marcelo Gomes last year, for a production of \u003cem>Othello\u003c/em>, Shakespeare’s black hero. And white performers played Otello in blackface as recently as 2013 at the Metropolitan Opera in New York, though the company abandoned the practice in its 2015 revival.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ur3uTKbrqIQ\u003c/p>\n\u003cp>“It really is a history of erasure. It’s ways in which to control bodies of color,” says A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts. “And control them in terms of economics because you want to take ideas from communities of color, but not pay folks.”\u003c/p>\n\u003cp>So it’s worth noting when a major arts group puts Asian Americans in charge both on and off the stage.\u003c/p>\n\u003cfigure id=\"attachment_11967399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg\" alt=\"Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1920x909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-960x455.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera \u003ccite>(Photo: Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next month, \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is premiering \u003cem>Dream of the Red Chamber\u003c/em>, based on the classic 18th century Chinese novel. \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng \u003c/a>wrote the music, playwright \u003ca href=\"http://barclayagency.com/site/speaker/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang \u003c/a>the libretto, and Stan Lai directs. All three are Chinese American (Lai is based in Taiwan). And Hwang’s contract stipulates that the show feature Asians in all the singing roles.\u003c/p>\n\u003cp>But Gregory Henkel, managing director/artistic, who oversees casting for SF Opera, says \u003cem>Dream of the Red Chamber\u003c/em> is a special case. “We found the singers first, and then the composer wrote for them.” And that’s because Henkel argues casting opera is much tougher than film or plays. Opera singers are like Olympic athletes, he says, who have to “sail over a large orchestra and fill a very large space,” 3200 seats in the case of San Francisco War Memorial Opera House. “Which is something not very many people in the world have the ability to do.”\u003c/p>\n\u003cp>Henkel says SF Opera practices a version of colorblind casting (common in many American theater companies), “hiring the greatest singers available.”\u003c/p>\n\u003cfigure id=\"attachment_11967554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg\" alt=\"Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars \u003ccite>(Photo: Terence McCarthy/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So on the SF Opera stage, the African American soprano\u003ca href=\"https://en.wikipedia.org/wiki/Leontyne_Price\" target=\"_blank\" rel=\"noopener\"> Leontyne Price \u003c/a>has played both Verdi’s African princess Aida, and Cio Cio San, the Japanese heroine of Puccini’s \u003cem>Madame Butterfly\u003c/em>. In 2010, the African American bass-baritone Eric Owens created the role of the white General Leslie Groves in the world premiere John Adams’ docu-opera \u003cem>Doctor Atomic\u003c/em>. White tenors, not in blackface, have played the title role in the company’s most recent productions of \u003cem>Otello\u003c/em>.\u003c/p>\n\u003cp>So against that background, how did The Lamplighters work things out in their\u003cem> Mikado\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11957016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11957016 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg\" alt=\"Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters' 'TheMikado'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813.jpg 1379w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters’ ‘TheMikado’ \u003ccite>( Photo: Joe Giammarco/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They reset it in Renaissance Italy, in Milan, not Japan, so the rhymes all work, and the show seemed as silly and as charming as any Gilbert and Sullivan lover might ask. “We were pressured to do it,” Vardigans says, “but ultimately we’ve all come around to being very excited about it, and in today’s cultural environment, it’s not right to do something that is offensive to any part of our community.”\u003c/p>\n\u003cp>Vardigans says a number of Gilbert and Sullivan companies from around the country are coming to town to see how well Lamplighters has resolved the controversy, though now, only a few small roles are played by Asians Americans.\u003c/p>\n\u003cp>Which is why theater activist \u003ca href=\"http://www.crowdedfire.org/mina-morita/\" target=\"_blank\" rel=\"noopener\">Mina Morita\u003c/a>, artistic director at Crowded Fire Theater Company, says she’s most excited about new plays that truly mirror America’s diversity.\u003c/p>\n\u003cp>“Because we’re tired of playing the sexy vixens, the maids, the wise mom, the ninja, the samurai. We’re ready for more complex roles.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And any time there’s a show about somebody else’s culture, Morita says, the producers need to find people from that culture to help create it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/279564976″&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/279564976″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"http://ww2.kqed.org/arts/2016/08/22/lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison/\" target=\"_blank\" rel=\"noopener\">Gilbert and Sullivan\u003c/a> opened their musical \u003cem>The Mikado\u003c/em> at the \u003ca href=\"http://www.savoy.org/\" target=\"_blank\" rel=\"noopener\">Savoy Theatre\u003c/a> in London in 1885, the first lines were sung by a chorus of kimono clad men. “If you want to know who we are, We are gentlemen of Japan.”\u003c/p>\n\u003cp>When the \u003ca href=\"http://www.lamplighters.org/\" target=\"_blank\" rel=\"noopener\">Lamplighters Music Theatre\u003c/a> opened their production at the Lesher Center for the Arts a few days ago, the chorus sang something a little different, “If you want to know who we are. We are gentlemen of Milan.”\u003c/p>\n\u003cfigure id=\"attachment_11957008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11957008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg\" alt=\"A scene from the Lamplighters version of 'The Mikado'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Lamplighters version of ‘The Mikado’ \u003ccite>(Photo: Lucas Buxman/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So how did the story end up in Italy. We’ll explain that in a minute, but it’s not what the Lamplighters first had in mind.\u003c/p>\n\u003cp>They planned for a traditional Japanese \u003cem>Mikado\u003c/em>, but with some Asian American actors, to avoid the controversies over yellowface that had plagued productions in Seattle and New York. (“Yellowface” is the Asian version of blackface, where white actors play Asian Americans with yellow makeup and eyeliner to make the eyes more slanted.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So last winter, Lamplighters’ Managing Director Sarah Vardigans set a meeting with \u003ca href=\"http://www.lilytungcrystal.com/\" target=\"_blank\" rel=\"noopener\">Lily Tung Crystal\u003c/a>, a leading Bay Area Asian American theater artist. But Vardigans says it didn’t go well.\u003c/p>\n\u003cp>“We had a difficult meeting with Lily,” Vardigans said in a recent interview. “She was very clear that the Asian Community would not support our production if we could not commit to one hundred percent Asian casting.\u003c/p>\n\u003cp>That was a deal breaker for Vardigans. “For a Gilbert and Sullivan company to commit to 100 percent Asian casting,” Vardigans said, “when we typically have ten percent Asian casting is just not practical.”\u003c/p>\n\u003cp>Crystal, who runs \u003ca href=\"http://www.ferociouslotus.org/\" target=\"_blank\" rel=\"noopener\">Ferocious Lotus Theater company\u003c/a>, was unhappy at the compromise Vardigans offered, that the white actors wouldn’t wear yellowface makeup. “We had an issue with that,” Crystal said recently. “Because we would argue that having Caucasian actors play Asian roles constitutes yellowface.”\u003c/p>\n\u003cfigure id=\"attachment_11967397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967397\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png\" alt=\"Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-400x224.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297.png 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal \u003ccite>(Photo: Courtesy of Ferocious Lotus Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t do black minstrel shows and blackface, because that’s not accepted anymore,” Crystal added. “So the question is: why, when it comes to the Asian community, it’s still okay for a Caucasian actor to play an Asian role.”\u003c/p>\n\u003cp>The fact is, yellowface and blackface are common on stages and movie screens around the world. The classic yellowface example from the past are the thousands of amateur and professional production of \u003cem>The Mikado\u003c/em>. In the movies, Micky Rooney’s farcical portrayal of Mr Yoniushi in the film version of \u003cem>Breakfast at Tiffany’s\u003c/em> has embarassed generations of Asian Americans. And just last year, the white Emma Stone played an Asian American named Alison Ng in Cameron Crowe’s movie \u003cem>Aloha,\u003c/em> which also garnered criticism.\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/I6H4eQhllVM'\n title='//www.youtube.com/embed/I6H4eQhllVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for blackface, the American Ballet Theatre, the home of African-American dancer Misty Copeland, put dark brown makeup on the Brazilian dancer Marcelo Gomes last year, for a production of \u003cem>Othello\u003c/em>, Shakespeare’s black hero. And white performers played Otello in blackface as recently as 2013 at the Metropolitan Opera in New York, though the company abandoned the practice in its 2015 revival.\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/Ur3uTKbrqIQ'\n title='//www.youtube.com/embed/Ur3uTKbrqIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It really is a history of erasure. It’s ways in which to control bodies of color,” says A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts. “And control them in terms of economics because you want to take ideas from communities of color, but not pay folks.”\u003c/p>\n\u003cp>So it’s worth noting when a major arts group puts Asian Americans in charge both on and off the stage.\u003c/p>\n\u003cfigure id=\"attachment_11967399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg\" alt=\"Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1920x909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-960x455.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera \u003ccite>(Photo: Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next month, \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is premiering \u003cem>Dream of the Red Chamber\u003c/em>, based on the classic 18th century Chinese novel. \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng \u003c/a>wrote the music, playwright \u003ca href=\"http://barclayagency.com/site/speaker/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang \u003c/a>the libretto, and Stan Lai directs. All three are Chinese American (Lai is based in Taiwan). And Hwang’s contract stipulates that the show feature Asians in all the singing roles.\u003c/p>\n\u003cp>But Gregory Henkel, managing director/artistic, who oversees casting for SF Opera, says \u003cem>Dream of the Red Chamber\u003c/em> is a special case. “We found the singers first, and then the composer wrote for them.” And that’s because Henkel argues casting opera is much tougher than film or plays. Opera singers are like Olympic athletes, he says, who have to “sail over a large orchestra and fill a very large space,” 3200 seats in the case of San Francisco War Memorial Opera House. “Which is something not very many people in the world have the ability to do.”\u003c/p>\n\u003cp>Henkel says SF Opera practices a version of colorblind casting (common in many American theater companies), “hiring the greatest singers available.”\u003c/p>\n\u003cfigure id=\"attachment_11967554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg\" alt=\"Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars \u003ccite>(Photo: Terence McCarthy/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So on the SF Opera stage, the African American soprano\u003ca href=\"https://en.wikipedia.org/wiki/Leontyne_Price\" target=\"_blank\" rel=\"noopener\"> Leontyne Price \u003c/a>has played both Verdi’s African princess Aida, and Cio Cio San, the Japanese heroine of Puccini’s \u003cem>Madame Butterfly\u003c/em>. In 2010, the African American bass-baritone Eric Owens created the role of the white General Leslie Groves in the world premiere John Adams’ docu-opera \u003cem>Doctor Atomic\u003c/em>. White tenors, not in blackface, have played the title role in the company’s most recent productions of \u003cem>Otello\u003c/em>.\u003c/p>\n\u003cp>So against that background, how did The Lamplighters work things out in their\u003cem> Mikado\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11957016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11957016 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg\" alt=\"Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters' 'TheMikado'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813.jpg 1379w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters’ ‘TheMikado’ \u003ccite>( Photo: Joe Giammarco/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They reset it in Renaissance Italy, in Milan, not Japan, so the rhymes all work, and the show seemed as silly and as charming as any Gilbert and Sullivan lover might ask. “We were pressured to do it,” Vardigans says, “but ultimately we’ve all come around to being very excited about it, and in today’s cultural environment, it’s not right to do something that is offensive to any part of our community.”\u003c/p>\n\u003cp>Vardigans says a number of Gilbert and Sullivan companies from around the country are coming to town to see how well Lamplighters has resolved the controversy, though now, only a few small roles are played by Asians Americans.\u003c/p>\n\u003cp>Which is why theater activist \u003ca href=\"http://www.crowdedfire.org/mina-morita/\" target=\"_blank\" rel=\"noopener\">Mina Morita\u003c/a>, artistic director at Crowded Fire Theater Company, says she’s most excited about new plays that truly mirror America’s diversity.\u003c/p>\n\u003cp>“Because we’re tired of playing the sexy vixens, the maids, the wise mom, the ninja, the samurai. We’re ready for more complex roles.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And any time there’s a show about somebody else’s culture, Morita says, the producers need to find people from that culture to help create it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Little-Known G.B. Shaw Play Has the Last Word on Love At First Sight",
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"content": "\u003cp>The principal beauty of George Bernard Shaw’s plays is that despite all the arguments, almost none of his characters makes sense. They all know it, and they don’t care, and they keep on arguing anyway, because it’s fun. And fun always leads to the good, albeit a good of much greater complexity than we might ever imagine.\u003c/p>\n\u003cp>That sense of the good guides us through the set of ridiculous circumstances of the rarely performed, \u003cem>You Never Can Tell\u003c/em>, currently playing at the Bruns Amphitheater in Orinda under the auspices of the \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> in a production that oscillates between the admirable and the misguided. Under Lisa Peterson’s direction, the cast and crew certainly get right what is most necessary to the play — and that is love, at its most antagonistic, sharp, and battle ready.\u003c/p>\n\u003cfigure id=\"attachment_11954135\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-800x450.jpg\" alt=\"Love at first sight is tricky for Valentine (Matthew Baldiga) and Gloria (Sabina Zuniga Varela) in 'You Never Can Tell' at Cal Shakes.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love at first sight is tricky for Valentine (Matthew Baldiga) and Gloria (Sabina Zuniga Varela) in ‘You Never Can Tell’ at Cal Shakes. \u003ccite>(Photo Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Valentine, a dentist, who cares little for his profession meets Gloria, the daughter of a famous feminist, it’s love at first sight. But neither party is ready to surrender either their ideals or their souls. And so the war is on. Matthew Baldiga and Sabina Zuniga Varela give the kind of performances Shaw’s plays demand. They are gracious, proud, foolish, biting, and always of this world. In Shaw, love is never enough; the world must come with it.\u003c/p>\n\u003cp>For Valentine, it means negotiating the complex and frivolous society of Gloria’s mother, Elizabeth Carter, a famous feminist who has somehow misplaced her husband for about 15 years. And for Gloria, it means accepting a man high of spirit, resolutely lazy, critical of her mother’s work, and, it goes without saying, no money. Love at first sight always seems a delight and so easy. But Shaw makes it hard and troublesome, a flash of insight that must be won again, and again, and again.\u003c/p>\n\u003cfigure id=\"attachment_11954140\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954140\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-800x451.jpg\" alt=\"Walter, the headwaiter, (Danny Scheie) reminds Finch McComas (Anthony Fusco) that you never can tell in 'You Never Can Tell' at Cal Shakes.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Walter, the headwaiter, (Danny Scheie) reminds Finch McComas (Anthony Fusco) that you never can tell in ‘You Never Can Tell’ at Cal Shakes. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A master of coincidence and the seemingly unnecessary, Shaw mirrors Valentine and Gloria’s travails with a subplot revolving around the headwaiter at a hotel restaurant named Walter, in a brilliant comic turn by Danny Scheie. He, too, will have to work to accept the good. Watching it happen is like seeing calculus come to life — the proof is as elegant as it is true.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I wish all the performances were as good and modulated as Baldiga, Varela, and Scheie’s, though Liam Vincent and Anthony Fusco are also quite fine. Peterson doesn’t quite seem to trust the play and so the opening scenes feel too manic and forced, instead of just unfolding before us. That requires patience, of both artists and audiences. It’s a quality Shaw demands in his plays, as well as in love, and it is a virtue that our culture is losing fast.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>You Never Can Tell\u003c/em> plays through Sunday, Sep. 4 at the Bruns Memorial Amphitheater in Orinda. For tickets and information please click \u003ca href=\"http://www.calshakes.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The principal beauty of George Bernard Shaw’s plays is that despite all the arguments, almost none of his characters makes sense. They all know it, and they don’t care, and they keep on arguing anyway, because it’s fun. And fun always leads to the good, albeit a good of much greater complexity than we might ever imagine.\u003c/p>\n\u003cp>That sense of the good guides us through the set of ridiculous circumstances of the rarely performed, \u003cem>You Never Can Tell\u003c/em>, currently playing at the Bruns Amphitheater in Orinda under the auspices of the \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> in a production that oscillates between the admirable and the misguided. Under Lisa Peterson’s direction, the cast and crew certainly get right what is most necessary to the play — and that is love, at its most antagonistic, sharp, and battle ready.\u003c/p>\n\u003cfigure id=\"attachment_11954135\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-800x450.jpg\" alt=\"Love at first sight is tricky for Valentine (Matthew Baldiga) and Gloria (Sabina Zuniga Varela) in 'You Never Can Tell' at Cal Shakes.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_2-e1471593373386-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love at first sight is tricky for Valentine (Matthew Baldiga) and Gloria (Sabina Zuniga Varela) in ‘You Never Can Tell’ at Cal Shakes. \u003ccite>(Photo Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Valentine, a dentist, who cares little for his profession meets Gloria, the daughter of a famous feminist, it’s love at first sight. But neither party is ready to surrender either their ideals or their souls. And so the war is on. Matthew Baldiga and Sabina Zuniga Varela give the kind of performances Shaw’s plays demand. They are gracious, proud, foolish, biting, and always of this world. In Shaw, love is never enough; the world must come with it.\u003c/p>\n\u003cp>For Valentine, it means negotiating the complex and frivolous society of Gloria’s mother, Elizabeth Carter, a famous feminist who has somehow misplaced her husband for about 15 years. And for Gloria, it means accepting a man high of spirit, resolutely lazy, critical of her mother’s work, and, it goes without saying, no money. Love at first sight always seems a delight and so easy. But Shaw makes it hard and troublesome, a flash of insight that must be won again, and again, and again.\u003c/p>\n\u003cfigure id=\"attachment_11954140\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11954140\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-800x451.jpg\" alt=\"Walter, the headwaiter, (Danny Scheie) reminds Finch McComas (Anthony Fusco) that you never can tell in 'You Never Can Tell' at Cal Shakes.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Younevercantell_3-e1471594094273-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Walter, the headwaiter, (Danny Scheie) reminds Finch McComas (Anthony Fusco) that you never can tell in ‘You Never Can Tell’ at Cal Shakes. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A master of coincidence and the seemingly unnecessary, Shaw mirrors Valentine and Gloria’s travails with a subplot revolving around the headwaiter at a hotel restaurant named Walter, in a brilliant comic turn by Danny Scheie. He, too, will have to work to accept the good. Watching it happen is like seeing calculus come to life — the proof is as elegant as it is true.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I wish all the performances were as good and modulated as Baldiga, Varela, and Scheie’s, though Liam Vincent and Anthony Fusco are also quite fine. Peterson doesn’t quite seem to trust the play and so the opening scenes feel too manic and forced, instead of just unfolding before us. That requires patience, of both artists and audiences. It’s a quality Shaw demands in his plays, as well as in love, and it is a virtue that our culture is losing fast.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>You Never Can Tell\u003c/em> plays through Sunday, Sep. 4 at the Bruns Memorial Amphitheater in Orinda. For tickets and information please click \u003ca href=\"http://www.calshakes.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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>\u003ca href=\"https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\">https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25\u003c/strong>: The sixth-generation San Francisco singer-songwriter \u003ca href=\"http://www.essencemusic.com/site\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a> (her real name) has a new album out, \u003ca href=\"http://gypsetmagazine.com/black-wings/\" target=\"_blank\" rel=\"noopener\">\u003cem>Black Wings\u003c/em>\u003c/a>, after a 10-year marriage and divorce.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kItgnwf40t0\u003c/p>\n\u003cp>Sounds both stressful and joyful, and but the album is terrific, full of smart songs about betrayal, dishonesty, and escape — see the video above, featuring a nifty disguise. Details on her show at Sweetwater in Mill Valley are \u003ca href=\"http://www.sweetwatermusichall.com/event/1256379/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K5RGr4zsyHY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Aug. 19 – 21:\u003c/strong> Aerial dance is a young art, pioneered in the Bay Area, that mixes the thrills of rock climbing and circus, with the ambitions of modern dance. Nothing is more beautiful than watching a troupe seem to defy gravity, and here’s a chance to catch the world’s best aerial dancers at the Aerial Dance Festival at Fort Mason. Zaccho Dance Theater has organized this event featuring their own work, plus the Upswing Aerial Dance Company, Nehara Kalev & Glenn Easley, Bandaloop, Flyaway Productions, Karl Gillick, Syn Circus and more. Details are \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8x-U62JCF44\u003c/p>\n\u003cp>\u003cstrong>Aug. 24\u003c/strong>: \u003ca href=\"http://www.barbaradane.net/HOME.html\" target=\"_blank\" rel=\"noopener\">Barbara Dane \u003c/a>is still making vital American roots music at 89. She’s been crediting her pianist and arranger Tammy Hall for reinvigorating her performances, but Dane has always worked with the best, singing jazz, blues, folk, and roots rock with everyone from the Chamber Brothers to Louis Armstrong. Her new album features songs by Abbey Lincoln, Duke Ellington , Paul Simon, and Lennon-McCartney, and every one’s a winner. Details for her album release party at Yoshi’s are \u003ca href=\"http://www.yoshis.com/event/1216997-barbara-dane-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=20CjztqC1eY\u003c/p>\n\u003cp>\u003cstrong>Aug. 24 – Sept. 17:\u003c/strong> This is a coup for Robert Kelley, the artistic director at \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks Silicon Valley\u003c/a>. He’s booked \u003ca href=\"http://ww2.kqed.org/arts/feeds/items/joel-selvin-on-rocks-darkest-day/\" target=\"_blank\" rel=\"noopener\">Andrew Lippa\u003c/a> leading a quartet of performers doing songs from some of Lippa’s Broadway and London shows, including \u003cem>Life of the Party\u003c/em>, \u003cem>The Addams Family\u003c/em>, and \u003cem>Big Fish\u003c/em>. This revue comes from London, with the same cast of Lippa, Damien Humbley, Sally Ann Triplett, and Teal Wicks. Details for three-week run at the \u003ca href=\"http://www.mountainview.gov/depts/cs/mvcpa/subsite/default.asp\" target=\"_blank\" rel=\"noopener\">Mountain View Center for the Performing Arts \u003c/a>are \u003ca href=\"http://www.theatreworks.org/shows/1617-season/the-life-of-the-party\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eRsn0PlvBvc\u003c/p>\n\u003cp>\u003cstrong>Aug. 20\u003c/strong>: \u003ca href=\"https://boulevardsfunk.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Boulevards\u003c/a> (Jamil Rashad) is just one of the bands playing the 20th Street Block Party this Saturday, but I just love that popping old-school bass line. This noo- to-6pm festival on Saturday is how \u003ca href=\"http://noisepop.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> gives some love to the Mission District, including raising funds for the \u003ca href=\"http://www.mlvs.org/index.php/en/\" target=\"_blank\" rel=\"noopener\">Mission Language and Vocational School\u003c/a>. Other headliners include LA’s Chicano Batman, Dos Four, Miami Horror, La Gente, Oakland’s Hazel English, SF’s Spooky Mansion; and Oakland’s Madeline Kenney. Details \u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jfoxsfhi-kk\u003c/p>\n\u003cp>\u003cstrong>Aug. 20 & 21\u003c/strong>: Oakland’s Art and Soul is my personal favorite street party. It’s easy to get to on BART, a great family event, with a eclectic mix of art, food and music. Tony! Toni! Toné! is the biggest name, but there’s a blues stage with Oakland’s \u003ca href=\"https://en.wikipedia.org/wiki/Sonny_Rhodes\" target=\"_blank\" rel=\"noopener\">Sonny Rhodes \u003c/a>and other local players, plus a gospel and dance stage, and music from local favorites John Santos and Linda Tillery, not to mention the Oakland Throwdown barbeque competition that brings contenders from all over California, plus lowriders and funnel cake. Details \u003ca href=\"http://artandsouloakland.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HbJ6Jsy0JfY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 22\u003c/strong>: \u003ca href=\"http://www.gogos.com/\" target=\"_blank\" rel=\"noopener\">The Go-Go’s \u003c/a>are giving a farewell tour after 38 years as a pioneering, all woman, punk pop band out of LA. The band deserves hall of fame consideration if only for “We Got the Beat.” This last tour features the band’s “classic” lineup with \u003ca href=\"http://www.billboard.com/artist/281139/belinda-carlisle/chart\" target=\"_blank\" rel=\"noopener\">Belinda Carlisle\u003c/a>, Jane Wiedlin, Charlotte Caffey and Gina Schock, but not bassist Kathy Valentine, who sued her former bandmates in 2013 after leaving over “irreconcilable differences.” \u003ca href=\"http://www.bestcoast.net/\" target=\"_blank\" rel=\"noopener\">Best Coast \u003c/a>opens. Details of their Mountain Winery show are \u003ca href=\"http://www.axs.com/events/308107/the-go-go-s-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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>\u003ca href=\"https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\">https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25\u003c/strong>: The sixth-generation San Francisco singer-songwriter \u003ca href=\"http://www.essencemusic.com/site\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a> (her real name) has a new album out, \u003ca href=\"http://gypsetmagazine.com/black-wings/\" target=\"_blank\" rel=\"noopener\">\u003cem>Black Wings\u003c/em>\u003c/a>, after a 10-year marriage and divorce.\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/kItgnwf40t0'\n title='//www.youtube.com/embed/kItgnwf40t0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sounds both stressful and joyful, and but the album is terrific, full of smart songs about betrayal, dishonesty, and escape — see the video above, featuring a nifty disguise. Details on her show at Sweetwater in Mill Valley are \u003ca href=\"http://www.sweetwatermusichall.com/event/1256379/\" 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/K5RGr4zsyHY'\n title='//www.youtube.com/embed/K5RGr4zsyHY'\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>Aug. 19 – 21:\u003c/strong> Aerial dance is a young art, pioneered in the Bay Area, that mixes the thrills of rock climbing and circus, with the ambitions of modern dance. Nothing is more beautiful than watching a troupe seem to defy gravity, and here’s a chance to catch the world’s best aerial dancers at the Aerial Dance Festival at Fort Mason. Zaccho Dance Theater has organized this event featuring their own work, plus the Upswing Aerial Dance Company, Nehara Kalev & Glenn Easley, Bandaloop, Flyaway Productions, Karl Gillick, Syn Circus and more. Details are \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" 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/8x-U62JCF44'\n title='//www.youtube.com/embed/8x-U62JCF44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 24\u003c/strong>: \u003ca href=\"http://www.barbaradane.net/HOME.html\" target=\"_blank\" rel=\"noopener\">Barbara Dane \u003c/a>is still making vital American roots music at 89. She’s been crediting her pianist and arranger Tammy Hall for reinvigorating her performances, but Dane has always worked with the best, singing jazz, blues, folk, and roots rock with everyone from the Chamber Brothers to Louis Armstrong. Her new album features songs by Abbey Lincoln, Duke Ellington , Paul Simon, and Lennon-McCartney, and every one’s a winner. Details for her album release party at Yoshi’s are \u003ca href=\"http://www.yoshis.com/event/1216997-barbara-dane-oakland/\" 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/20CjztqC1eY'\n title='//www.youtube.com/embed/20CjztqC1eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 24 – Sept. 17:\u003c/strong> This is a coup for Robert Kelley, the artistic director at \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks Silicon Valley\u003c/a>. He’s booked \u003ca href=\"http://ww2.kqed.org/arts/feeds/items/joel-selvin-on-rocks-darkest-day/\" target=\"_blank\" rel=\"noopener\">Andrew Lippa\u003c/a> leading a quartet of performers doing songs from some of Lippa’s Broadway and London shows, including \u003cem>Life of the Party\u003c/em>, \u003cem>The Addams Family\u003c/em>, and \u003cem>Big Fish\u003c/em>. This revue comes from London, with the same cast of Lippa, Damien Humbley, Sally Ann Triplett, and Teal Wicks. Details for three-week run at the \u003ca href=\"http://www.mountainview.gov/depts/cs/mvcpa/subsite/default.asp\" target=\"_blank\" rel=\"noopener\">Mountain View Center for the Performing Arts \u003c/a>are \u003ca href=\"http://www.theatreworks.org/shows/1617-season/the-life-of-the-party\" 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/eRsn0PlvBvc'\n title='//www.youtube.com/embed/eRsn0PlvBvc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 20\u003c/strong>: \u003ca href=\"https://boulevardsfunk.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Boulevards\u003c/a> (Jamil Rashad) is just one of the bands playing the 20th Street Block Party this Saturday, but I just love that popping old-school bass line. This noo- to-6pm festival on Saturday is how \u003ca href=\"http://noisepop.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> gives some love to the Mission District, including raising funds for the \u003ca href=\"http://www.mlvs.org/index.php/en/\" target=\"_blank\" rel=\"noopener\">Mission Language and Vocational School\u003c/a>. Other headliners include LA’s Chicano Batman, Dos Four, Miami Horror, La Gente, Oakland’s Hazel English, SF’s Spooky Mansion; and Oakland’s Madeline Kenney. Details \u003ca href=\"http://www.20thstreetblockparty.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/Jfoxsfhi-kk'\n title='//www.youtube.com/embed/Jfoxsfhi-kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 20 & 21\u003c/strong>: Oakland’s Art and Soul is my personal favorite street party. It’s easy to get to on BART, a great family event, with a eclectic mix of art, food and music. Tony! Toni! Toné! is the biggest name, but there’s a blues stage with Oakland’s \u003ca href=\"https://en.wikipedia.org/wiki/Sonny_Rhodes\" target=\"_blank\" rel=\"noopener\">Sonny Rhodes \u003c/a>and other local players, plus a gospel and dance stage, and music from local favorites John Santos and Linda Tillery, not to mention the Oakland Throwdown barbeque competition that brings contenders from all over California, plus lowriders and funnel cake. Details \u003ca href=\"http://artandsouloakland.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/HbJ6Jsy0JfY'\n title='//www.youtube.com/embed/HbJ6Jsy0JfY'\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 22\u003c/strong>: \u003ca href=\"http://www.gogos.com/\" target=\"_blank\" rel=\"noopener\">The Go-Go’s \u003c/a>are giving a farewell tour after 38 years as a pioneering, all woman, punk pop band out of LA. The band deserves hall of fame consideration if only for “We Got the Beat.” This last tour features the band’s “classic” lineup with \u003ca href=\"http://www.billboard.com/artist/281139/belinda-carlisle/chart\" target=\"_blank\" rel=\"noopener\">Belinda Carlisle\u003c/a>, Jane Wiedlin, Charlotte Caffey and Gina Schock, but not bassist Kathy Valentine, who sued her former bandmates in 2013 after leaving over “irreconcilable differences.” \u003ca href=\"http://www.bestcoast.net/\" target=\"_blank\" rel=\"noopener\">Best Coast \u003c/a>opens. Details of their Mountain Winery show are \u003ca href=\"http://www.axs.com/events/308107/the-go-go-s-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Carole King and Stripper Nomi Sing for Their Lives in 'Beautiful' & 'Showgirls!'",
"headTitle": "Carole King and Stripper Nomi Sing for Their Lives in ‘Beautiful’ & ‘Showgirls!’ | KQED",
"content": "\u003cp>In style and intent, the Carole King musical \u003cem>Beautiful\u003c/em>, returning to San Francisco after a successful Broadway run, and Mediumface’s production of \u003cem>Showgirls! The Musical\u003c/em>, a trashy parody of the trashy 1980s cult classic, \u003cem>Showgirls, \u003c/em>live in different lands. And yet they share a belief in performance — that the will to sing in the face of our foolishness, no matter how stinging our failures, is the surest path to joy and the only way to salvation.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Carol King’s career: dramatic, or just beautiful?\u003c/strong>\u003c/p>\n\u003cp>In a sly bit of meta-theatrics, \u003cem>Beautiful \u003c/em>begins with King introducing herself at a 1971 Carnegie Hall concert fresh off the success of her Grammy-winning, chart topping solo album, \u003cem>Tapestry\u003c/em>. In true biopic fashion, Douglas McGrath’s book will bring us back around to that triumphant moment.\u003c/p>\n\u003cfigure id=\"attachment_11946568\" class=\"wp-caption aligncenter\" style=\"max-width: 606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946568\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg\" alt=\"Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in 'Beautiful' at the Orpheum Theatre.\" width=\"606\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989-400x226.jpg 400w\" sizes=\"(max-width: 606px) 100vw, 606px\">\u003cfigcaption class=\"wp-caption-text\">Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first act follows the young King, full of uncertain ambition, selling her first song to Don Kirshner; meeting her soon-to-be husband and songwriting partner, Gerry Goffin; their initial success; an unplanned pregnancy; marriage; his cheating; and the beginning of their long slide towards divorce. It’s a standard show biz narrative, and yet somehow, at moments, \u003cem>Beautiful\u003c/em> transcends the genre in rather exciting ways.\u003c/p>\n\u003cp>And it’s all in the music and how McGrath gives us access to the art of songwriting and singing through his storytelling. Often a number will begin with King at the piano, sketching out a tune, and you can hear her gifts — the fine sense of timing and the shifty melodies that somehow effortlessly hold together. Then Goffin enters with a phrase or verse and they’ll sing together and you can hear the words float into place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So you aren’t just listening for the hit, as happens in most jukebox musicals, but also feeling your way through the music with King and Goffin. It’s a charming and enticing effect, and when it ends with slick recreations of the acts they wrote for — The Drifters, The Shirelles, Little Eva (who was their baby sitter) — the music and the musical soar.\u003c/p>\n\u003cfigure id=\"attachment_11946570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11946570\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg\" alt=\"The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out "Some King of Wonderful" in 'Beautiful' at the Orpheum Theatre.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out “Some King of Wonderful” in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We feel the twin poles of what it takes to create a hit song — the pedestrian nature of its birth and its electric triumph in performance. And for a moment you think that \u003cem>Beautiful\u003c/em> might find a daring bridge between the two, that anything could happen in the vortex of all these dissimilar and explosive talents working together. But McGrath hints at rather than plunges into the fury that lies beneath these pop hits.\u003c/p>\n\u003cp>Nothing is made of King and Goffin’s ability to write for and sell the first wave of African-American pop acts. Nor the subversive charm the duo brought to the white, manufactured boy band, The Monkees. What’s disappointing is how much of this material is right in front of McGrath, from Goffin’s affair with an African-American singer (called Janelle Woods in the show, but possibly one of the Chiffons) to King and Goffin’s retreat to the suburbs.\u003c/p>\n\u003cp>What should be rough and painful is glossed over. By the time King is singing her own songs — working on \u003cem>Tapestry\u003c/em> in the studio with Lou Alder and performing in front of huge crowds — the drama feels spent and preordained, the singing straining for effect. It should have been otherwise.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>Showgirls! The Musical \u003c/em>resolves Paul Verhoven’s schlocky movie in musical form\u003c/strong>\u003c/p>\n\u003cp>Paul Verhoven’s \u003cem>Showgirls\u003c/em>, a strip show take on \u003cem>All About Eve\u003c/em>, is one of the greatest so-bad-it’s-good movies of all time. It’s a deliberate piece of sleaze so over-the-top that it somehow achieves moments of subtlety, pain, and insight. One might argue that Verhoven anticipated the derision and parodies that would inevitably follow, and that Bob and Tobly McSmith’s musical theater send-up is exactly what he imagined would happen. The excesses of \u003cem>Showgirls\u003c/em> could only be resolved in a musical.\u003c/p>\n\u003cp>So in many ways the script — sometimes witty, always raunchy, and ridiculously provisional to the proceedings — is an afterthought. It could have been better or worse, and it still would have had nothing to do with what’s disturbing and fascinating about the production. \u003cem>Showgirls! The Musical\u003c/em> is all about the performers and how far they’re willing to embrace trash, just as Elizabeth Berkley and Gina Gershon did in the original. The answer at the Victoria Theatre is: pretty far.\u003c/p>\n\u003cfigure id=\"attachment_11946583\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg\" alt=\"Nomi Malone (April Kidwell) takes her ambitions out on her stripper's pole in 'Showgirls! The Musical' at the Victoria Theatre.\" width=\"750\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited-400x226.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nomi Malone (April Kidwell) takes her ambitions out on her stripper’s pole in ‘Showgirls! The Musical’ at the Victoria Theatre. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>April Kidwell, as Nomi, the drifter-prostitute dreaming of Las Vegas showgirl stardom, gives the most committed and startling comic performance I’ve seen so far this year. Like the best of Will Ferrell’s early film work, Kidwell uses her naked body to shock us into recognizing our common humanity. The character might come off as wooden, shallow, and foolish, but the failures of Nomi’s body to obey her ambitions tell a more complex and mournful tale.\u003c/p>\n\u003cp>Watch Nomi attempt to master a stripper’s pole, have sex in a pool, or perform a topless soft shoe shuffle in the middle of a striptease. Suddenly, under Kidwell’s striking comic bumbling, you see how human a fool can be. And so when Nomi sings, no matter how risible the material — “Dancing Ain’t Fucking,” “Dead Hooker,” “We’re Fucking Underwater” to name just a few of the musical’s imaginatively-titled numbers — we listen with care and understanding. How wonderful that Nomi should find the strength, during and after every degradation, to burst into song.\u003c/p>\n\u003cp>\u003cem>Showgirls! The Musical\u003c/em> is not great art and might even be bad art, but somehow it does what great art so beautifully accomplishes — it forces you to care for someone you’d otherwise laugh at.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Beautiful\u003c/em> plays through Sunday, Sep. 18 at the Orpheum Theatre in San Francisco. For tickets and information please click \u003ca href=\"https://www.shnsf.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Showgirls! The Musical\u003c/em> plays through Saturday, Aug. 27 at the Victoria Theatre in San Francisco. For tickets and information please click \u003ca href=\"http://www.showgirlsthemusical.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In style and intent, the Carole King musical 'Beautiful' and 'Showgirls! The Musical,' live in different lands. And yet they share a belief in performance.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In style and intent, the Carole King musical \u003cem>Beautiful\u003c/em>, returning to San Francisco after a successful Broadway run, and Mediumface’s production of \u003cem>Showgirls! The Musical\u003c/em>, a trashy parody of the trashy 1980s cult classic, \u003cem>Showgirls, \u003c/em>live in different lands. And yet they share a belief in performance — that the will to sing in the face of our foolishness, no matter how stinging our failures, is the surest path to joy and the only way to salvation.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Carol King’s career: dramatic, or just beautiful?\u003c/strong>\u003c/p>\n\u003cp>In a sly bit of meta-theatrics, \u003cem>Beautiful \u003c/em>begins with King introducing herself at a 1971 Carnegie Hall concert fresh off the success of her Grammy-winning, chart topping solo album, \u003cem>Tapestry\u003c/em>. In true biopic fashion, Douglas McGrath’s book will bring us back around to that triumphant moment.\u003c/p>\n\u003cfigure id=\"attachment_11946568\" class=\"wp-caption aligncenter\" style=\"max-width: 606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946568\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg\" alt=\"Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in 'Beautiful' at the Orpheum Theatre.\" width=\"606\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989-400x226.jpg 400w\" sizes=\"(max-width: 606px) 100vw, 606px\">\u003cfigcaption class=\"wp-caption-text\">Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first act follows the young King, full of uncertain ambition, selling her first song to Don Kirshner; meeting her soon-to-be husband and songwriting partner, Gerry Goffin; their initial success; an unplanned pregnancy; marriage; his cheating; and the beginning of their long slide towards divorce. It’s a standard show biz narrative, and yet somehow, at moments, \u003cem>Beautiful\u003c/em> transcends the genre in rather exciting ways.\u003c/p>\n\u003cp>And it’s all in the music and how McGrath gives us access to the art of songwriting and singing through his storytelling. Often a number will begin with King at the piano, sketching out a tune, and you can hear her gifts — the fine sense of timing and the shifty melodies that somehow effortlessly hold together. Then Goffin enters with a phrase or verse and they’ll sing together and you can hear the words float into place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So you aren’t just listening for the hit, as happens in most jukebox musicals, but also feeling your way through the music with King and Goffin. It’s a charming and enticing effect, and when it ends with slick recreations of the acts they wrote for — The Drifters, The Shirelles, Little Eva (who was their baby sitter) — the music and the musical soar.\u003c/p>\n\u003cfigure id=\"attachment_11946570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11946570\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg\" alt=\"The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out "Some King of Wonderful" in 'Beautiful' at the Orpheum Theatre.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out “Some King of Wonderful” in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We feel the twin poles of what it takes to create a hit song — the pedestrian nature of its birth and its electric triumph in performance. And for a moment you think that \u003cem>Beautiful\u003c/em> might find a daring bridge between the two, that anything could happen in the vortex of all these dissimilar and explosive talents working together. But McGrath hints at rather than plunges into the fury that lies beneath these pop hits.\u003c/p>\n\u003cp>Nothing is made of King and Goffin’s ability to write for and sell the first wave of African-American pop acts. Nor the subversive charm the duo brought to the white, manufactured boy band, The Monkees. What’s disappointing is how much of this material is right in front of McGrath, from Goffin’s affair with an African-American singer (called Janelle Woods in the show, but possibly one of the Chiffons) to King and Goffin’s retreat to the suburbs.\u003c/p>\n\u003cp>What should be rough and painful is glossed over. By the time King is singing her own songs — working on \u003cem>Tapestry\u003c/em> in the studio with Lou Alder and performing in front of huge crowds — the drama feels spent and preordained, the singing straining for effect. It should have been otherwise.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>Showgirls! The Musical \u003c/em>resolves Paul Verhoven’s schlocky movie in musical form\u003c/strong>\u003c/p>\n\u003cp>Paul Verhoven’s \u003cem>Showgirls\u003c/em>, a strip show take on \u003cem>All About Eve\u003c/em>, is one of the greatest so-bad-it’s-good movies of all time. It’s a deliberate piece of sleaze so over-the-top that it somehow achieves moments of subtlety, pain, and insight. One might argue that Verhoven anticipated the derision and parodies that would inevitably follow, and that Bob and Tobly McSmith’s musical theater send-up is exactly what he imagined would happen. The excesses of \u003cem>Showgirls\u003c/em> could only be resolved in a musical.\u003c/p>\n\u003cp>So in many ways the script — sometimes witty, always raunchy, and ridiculously provisional to the proceedings — is an afterthought. It could have been better or worse, and it still would have had nothing to do with what’s disturbing and fascinating about the production. \u003cem>Showgirls! The Musical\u003c/em> is all about the performers and how far they’re willing to embrace trash, just as Elizabeth Berkley and Gina Gershon did in the original. The answer at the Victoria Theatre is: pretty far.\u003c/p>\n\u003cfigure id=\"attachment_11946583\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg\" alt=\"Nomi Malone (April Kidwell) takes her ambitions out on her stripper's pole in 'Showgirls! The Musical' at the Victoria Theatre.\" width=\"750\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited-400x226.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nomi Malone (April Kidwell) takes her ambitions out on her stripper’s pole in ‘Showgirls! The Musical’ at the Victoria Theatre. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>April Kidwell, as Nomi, the drifter-prostitute dreaming of Las Vegas showgirl stardom, gives the most committed and startling comic performance I’ve seen so far this year. Like the best of Will Ferrell’s early film work, Kidwell uses her naked body to shock us into recognizing our common humanity. The character might come off as wooden, shallow, and foolish, but the failures of Nomi’s body to obey her ambitions tell a more complex and mournful tale.\u003c/p>\n\u003cp>Watch Nomi attempt to master a stripper’s pole, have sex in a pool, or perform a topless soft shoe shuffle in the middle of a striptease. Suddenly, under Kidwell’s striking comic bumbling, you see how human a fool can be. And so when Nomi sings, no matter how risible the material — “Dancing Ain’t Fucking,” “Dead Hooker,” “We’re Fucking Underwater” to name just a few of the musical’s imaginatively-titled numbers — we listen with care and understanding. How wonderful that Nomi should find the strength, during and after every degradation, to burst into song.\u003c/p>\n\u003cp>\u003cem>Showgirls! The Musical\u003c/em> is not great art and might even be bad art, but somehow it does what great art so beautifully accomplishes — it forces you to care for someone you’d otherwise laugh at.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Beautiful\u003c/em> plays through Sunday, Sep. 18 at the Orpheum Theatre in San Francisco. For tickets and information please click \u003ca href=\"https://www.shnsf.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Showgirls! The Musical\u003c/em> plays through Saturday, Aug. 27 at the Victoria Theatre in San Francisco. For tickets and information please click \u003ca href=\"http://www.showgirlsthemusical.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "WIN: Tickets to see 'Daniel Tiger's Neighborhood Live!'",
"title": "WIN: Tickets to see 'Daniel Tiger's Neighborhood Live!'",
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"content": "\u003cp>The legacy of the beloved Mister Rogers lives on with the hit television series\u003cem> Daniel Tiger’s Neighborhood\u003c/em> from The Fred Rogers Company, airing daily on PBS KIDS. Now, Daniel and all of his friends are hopping aboard Trolley to delight live audiences with \u003cem>\u003ca href=\"http://danieltigerlive.com/\">Daniel Tiger’s Neighborhood Live!\u003c/a>\u003c/em> This theatrical production filled with singing, dancing, laughter and “grr-ific” surprises will warm the hearts of multiple generations. \u003cstrong>Best of all, \u003cstrong>we've got a family four-pack of tickets to give away!\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">For your chance to win, send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Daniel Tiger,\" and include your full name.\u003c/p>\n\u003cp style=\"color: #000000\">One winner, selected randomly from all entries, will receive four general admission tickets ($50 per-ticket value) to \u003cem>Daniel Tiger's Neighborhood Live!\u003c/em> at the \u003ca href=\"http://www.flintcenter.com/\">Flint Center for the Performing Arts\u003c/a> on Friday, November 4, 2016. We will also randomly select two runners-up to win a pair of tickets each.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>The deadline to enter is Friday, August 19, at 9 am.\u003c/strong> Winners will be notified by email on Monday, August 22. Tickets will be 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\">Tickets for \u003cem>Daniel Tiger's Neighborhood Live! \u003c/em>are available for purchase Friday, August 12, at 10am on \u003ca href=\"http://www.ticketmaster.com/\">Ticketmaster\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003cem>Daniel Tiger's Neighborhood Live!\u003c/em>\u003cbr>\nFriday, November 4, 2016, at 6pm\u003cbr>\nFlint Center for the Performing Arts\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/strong>\u003cspan class=\"_Xbe\">21250 Stevens Creek Blvd.,\u003cbr>\nCupertino, CA 95014\u003c/span>\u003cbr>\n408.864.8820\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"color: #000000\">\u003cem>This exhibit is generously sponsored by Google.org\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The legacy of the beloved Mister Rogers lives on with the hit television series\u003cem> Daniel Tiger’s Neighborhood\u003c/em> from The Fred Rogers Company, airing daily on PBS KIDS. Now, Daniel and all of his friends are hopping aboard Trolley to delight live audiences with \u003cem>\u003ca href=\"http://danieltigerlive.com/\">Daniel Tiger’s Neighborhood Live!\u003c/a>\u003c/em> This theatrical production filled with singing, dancing, laughter and “grr-ific” surprises will warm the hearts of multiple generations. \u003cstrong>Best of all, \u003cstrong>we've got a family four-pack of tickets to give away!\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">For your chance to win, send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Daniel Tiger,\" and include your full name.\u003c/p>\n\u003cp style=\"color: #000000\">One winner, selected randomly from all entries, will receive four general admission tickets ($50 per-ticket value) to \u003cem>Daniel Tiger's Neighborhood Live!\u003c/em> at the \u003ca href=\"http://www.flintcenter.com/\">Flint Center for the Performing Arts\u003c/a> on Friday, November 4, 2016. We will also randomly select two runners-up to win a pair of tickets each.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>The deadline to enter is Friday, August 19, at 9 am.\u003c/strong> Winners will be notified by email on Monday, August 22. Tickets will be 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\">Tickets for \u003cem>Daniel Tiger's Neighborhood Live! \u003c/em>are available for purchase Friday, August 12, at 10am on \u003ca href=\"http://www.ticketmaster.com/\">Ticketmaster\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003cem>Daniel Tiger's Neighborhood Live!\u003c/em>\u003cbr>\nFriday, November 4, 2016, at 6pm\u003cbr>\nFlint Center for the Performing Arts\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/strong>\u003cspan class=\"_Xbe\">21250 Stevens Creek Blvd.,\u003cbr>\nCupertino, CA 95014\u003c/span>\u003cbr>\n408.864.8820\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"color: #000000\">\u003cem>This exhibit is generously sponsored by Google.org\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>David Huddleston, the character actor best known for portraying titular roles in \u003cem>The Big Lebowski\u003c/em> and \u003cem>Santa Claus: The Movie\u003c/em>, has died. He was 85.\u003c/p>\n\u003cp>Huddleston’s wife, Sarah C. Koeppe, says he died Tuesday of advanced heart and kidney disease in Santa Fe, New Mexico.\u003c/p>\n\u003cp>Huddleston famously portrayed the blustery millionaire whose identity Jeff Bridges’ character is mistaken for in the 1998 cult comedy \u003cem>The Big Lebowski\u003c/em>. He also personified a jolly St. Nick alongside Dudley Moore in \u003cem>Santa Claus: The Movie\u003c/em> and hilariously played the mayor in \u003cem>Blazing Saddles\u003c/em>.\u003c/p>\n\u003cp>Other credits in Huddleston’s 55-year career include the films \u003cem>Fools’ Parade\u003c/em>, \u003cem>Family Reunion\u003c/em> and \u003cem>Bad Company\u003c/em>, as well as guest appearances on such TV series as \u003cem>Gunsmoke\u003c/em>, \u003cem>The West Wing\u003c/em>, \u003cem>Gilmore Girls\u003c/em> and \u003cem>The Wonder Years\u003c/em>.\u003c/p>\n\u003cp>Huddleston was born in 1930 in Vinton, Virginia. He served as an aircraft engine mechanic in the U.S. Air Force before studying acting in New York. He began his career in the theater, acting in national tours of such shows as \u003cem>Music Man\u003c/em>, \u003cem>Mame\u003c/em> and \u003cem>A Funny Thing Happened on the Way to the Forum\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Huddleston, the character actor best known for portraying titular roles in \u003cem>The Big Lebowski\u003c/em> and \u003cem>Santa Claus: The Movie\u003c/em>, has died. He was 85.\u003c/p>\n\u003cp>Huddleston’s wife, Sarah C. Koeppe, says he died Tuesday of advanced heart and kidney disease in Santa Fe, New Mexico.\u003c/p>\n\u003cp>Huddleston famously portrayed the blustery millionaire whose identity Jeff Bridges’ character is mistaken for in the 1998 cult comedy \u003cem>The Big Lebowski\u003c/em>. He also personified a jolly St. Nick alongside Dudley Moore in \u003cem>Santa Claus: The Movie\u003c/em> and hilariously played the mayor in \u003cem>Blazing Saddles\u003c/em>.\u003c/p>\n\u003cp>Other credits in Huddleston’s 55-year career include the films \u003cem>Fools’ Parade\u003c/em>, \u003cem>Family Reunion\u003c/em> and \u003cem>Bad Company\u003c/em>, as well as guest appearances on such TV series as \u003cem>Gunsmoke\u003c/em>, \u003cem>The West Wing\u003c/em>, \u003cem>Gilmore Girls\u003c/em> and \u003cem>The Wonder Years\u003c/em>.\u003c/p>\n\u003cp>Huddleston was born in 1930 in Vinton, Virginia. He served as an aircraft engine mechanic in the U.S. Air Force before studying acting in New York. He began his career in the theater, acting in national tours of such shows as \u003cem>Music Man\u003c/em>, \u003cem>Mame\u003c/em> and \u003cem>A Funny Thing Happened on the Way to the Forum\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>https://soundcloud.com/kqed/the-do-list-august-5th-2016\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Aug. 5:\u003c/strong> We’re highlighting the little \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">Petaluma Music Festival\u003c/a> (Aug. 5) over \u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> (Aug. 5-7) for three reasons: Petaluma is just $45 bucks for a day (profits all go to Petaluma schools), with music by Sacramento native \u003ca href=\"http://www.jackiegreene.com\" target=\"_blank\" rel=\"noopener\">Jackie Greene\u003c/a>, The Motherhips, Moonalice, \u003ca href=\"http://www.moetar.com/\" target=\"_blank\" rel=\"noopener\">Moetar\u003c/a> (great band), and other jambands.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=olg2Wh0k9oI\u003c/p>\n\u003cp>Outside Lands (Radiohead, Lionel Richie) is $145/day. Petaluma expects barely four thousand at their home at the Sonoma/Marin Fairgrounds. Figure 55 thousand a day at Outside Lands. And finally, Outside Lands is sold out. Details on the Petaluma Music Festival are \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And BTW, we have an Outside Lands preview from our own \u003ca href=\"http://ww2.kqed.org/pop/2016/04/05/outside-lands-2016-radiohead-lcd-soundsystem-lionel-richie-and-muppets/\" target=\"_blank\" rel=\"noopener\">Emma Silvers here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11890032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11890032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg\" alt=\"Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest's 'Campo Maldito.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest’s ‘Campo Maldito.’ \u003ccite>(Photo: Jim Carmody/People of Interest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13\u003c/strong>: \u003ca href=\"http://www.peopleofinterest.org/campo-maldito.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Campo Maldito \u003c/em>\u003c/a>is a play, created by the San Diego theater company \u003ca href=\"http://www.peopleofinterest.org/\" target=\"_blank\" rel=\"noopener\">People of Interest\u003c/a>, about ghosts and gentrification. It was a hit at the New York and San Francisco Fringe Festivals a few years ago, and is just as timely now. A tech startup moves into San Francisco’s Tenderloin, and the white entrepreneur hires a Santeria priest to purify the office with scary results. The well-told moral may be don’t displace the living or piss of the dead. The producers are offering free tickets to neighborhood residents. Details for the run at San Francisco’s \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit Theatre\u003c/a> are \u003ca href=\"http://www.brownpapertickets.com/event/2559855\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-SlId-8Noh8\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>It will hard to imagine the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> without \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>. This champion of women as conductors and composers is exiting after 25 years as artistic director and conductor at the festival, leaving a brilliant legacy of newly commissioned music. The video above is for a new symphonic ballet by \u003ca href=\"http://www.annaclyne.com/\" target=\"_blank\" rel=\"noopener\">Anna Clyne \u003c/a>preming at the festival. And over the years, Alsop has welcomed Berkeley’s \u003ca href=\"http://www.earbox.com/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> (composing a new work this year dedicated to Alsop), the Peninsula’s \u003ca href=\"http://www.masonbates.com\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a>, John Corigliano, Jennifer Higdon and many others. Don’t miss your chance to see Alsop’s swan song. (Wouldn’t it be nice if the San Francisco Symphony brings her back to the Bay Area as a guest conductor once in a while. Imagine her taking over for MTT when he eventually retires). Details for Cabrillo are \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o9OY_-PHMTs\u003c/p>\n\u003cp>\u003cstrong>Aug. 10-27\u003c/strong>: Here’s a stage musical that promises to be topless, tasteless and so much fun. \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/04/its-still-ok-to-hate-em-showgirls-em/360644/\" target=\"_blank\" rel=\"noopener\">\u003cem>Showgirls\u003c/em>\u003c/a> was a really trashy and exploitative 1995 film, starring Gina Gershon and Elizabeth Berkeley, about Vegas showgirls, and what they’ll do (anything, apparently) to succeed. The movie has long been a favorite of drag queens, and now we’re getting the West Coast premiere of \u003cem>Showgirls the Musical\u003c/em>, co-starring \u003ca href=\"http://aprilkidwell.com/\" target=\"_blank\" rel=\"noopener\">April Kidwell \u003c/a>(repeating the role she originated in the New York production) and San Francisco drag queen \u003ca href=\"http://store.peacheschrist.com/\" target=\"_blank\" rel=\"noopener\">Peaches Christ \u003c/a>(Joshua Grannell), in the role of the older diva. “As drag queens and cult enthusiasts,” Christ/Grannell told me, “we saw the value in taking this film, and celebrating the absurdity, so that we take the misogyny and the sexism and put it in a drag context, and refuse to take this seriously. I don’t think this was the intention of the filmmakers at all.” This is a rare adults-only Do List item, and details for the run at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco are \u003ca href=\"http://www.showgirlsthemusical.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NDOenFQazrA\u003c/p>\n\u003cp>\u003cstrong>Aug. 10: \u003c/strong>\u003ca href=\"http://ezrafurman.com/\" target=\"_blank\" rel=\"noopener\">Ezra Furman\u003c/a> is another performer who looks good in pearls (see Peaches Christ above), He’s a gender non-conforming, smart (and smartass) conservative Jew who doesn’t play concerts on the Sabbath (Friday evening through Saturday at dusk). He’s also a terrific songwriter and singer with a knack for power pop melodic hooks, and a deep respect for rock and roll traditions from doo-wop to Bruce Springsteen to Little Richard. His new EP is about “the theme of the mind unmoored,” but Furman never seems to lose his artistic way. Details for his show at the Swedish American Hall in San Francisco Wednesday, are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/224/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IICw3txlrbs\u003c/p>\n\u003cp>\u003cstrong>Through Aug 6\u003c/strong>: For a couple of years now, we’ve been following San Francisco choreographer \u003ca href=\"http://www.postballet.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Robert Dekkers\u003c/a>‘ evolving dance opus about community and our place in the universe. Now he and his company \u003ca href=\"http://www.postballet.org/\" target=\"_blank\" rel=\"noopener\">Post:Ballet\u003c/a> are performing all the chapters together in a new staging that features food, mylar balloons, and live music performed by the Living Earth Project. Expect strange and brilliant\u003cem>. Details \u003ca href=\"http://www.zspace.org/guest-shows/do-be\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>https://soundcloud.com/kqed/the-do-list-august-5th-2016\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Aug. 5:\u003c/strong> We’re highlighting the little \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">Petaluma Music Festival\u003c/a> (Aug. 5) over \u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> (Aug. 5-7) for three reasons: Petaluma is just $45 bucks for a day (profits all go to Petaluma schools), with music by Sacramento native \u003ca href=\"http://www.jackiegreene.com\" target=\"_blank\" rel=\"noopener\">Jackie Greene\u003c/a>, The Motherhips, Moonalice, \u003ca href=\"http://www.moetar.com/\" target=\"_blank\" rel=\"noopener\">Moetar\u003c/a> (great band), and other jambands.\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/olg2Wh0k9oI'\n title='//www.youtube.com/embed/olg2Wh0k9oI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Outside Lands (Radiohead, Lionel Richie) is $145/day. Petaluma expects barely four thousand at their home at the Sonoma/Marin Fairgrounds. Figure 55 thousand a day at Outside Lands. And finally, Outside Lands is sold out. Details on the Petaluma Music Festival are \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And BTW, we have an Outside Lands preview from our own \u003ca href=\"http://ww2.kqed.org/pop/2016/04/05/outside-lands-2016-radiohead-lcd-soundsystem-lionel-richie-and-muppets/\" target=\"_blank\" rel=\"noopener\">Emma Silvers here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11890032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11890032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg\" alt=\"Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest's 'Campo Maldito.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest’s ‘Campo Maldito.’ \u003ccite>(Photo: Jim Carmody/People of Interest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13\u003c/strong>: \u003ca href=\"http://www.peopleofinterest.org/campo-maldito.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Campo Maldito \u003c/em>\u003c/a>is a play, created by the San Diego theater company \u003ca href=\"http://www.peopleofinterest.org/\" target=\"_blank\" rel=\"noopener\">People of Interest\u003c/a>, about ghosts and gentrification. It was a hit at the New York and San Francisco Fringe Festivals a few years ago, and is just as timely now. A tech startup moves into San Francisco’s Tenderloin, and the white entrepreneur hires a Santeria priest to purify the office with scary results. The well-told moral may be don’t displace the living or piss of the dead. The producers are offering free tickets to neighborhood residents. Details for the run at San Francisco’s \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit Theatre\u003c/a> are \u003ca href=\"http://www.brownpapertickets.com/event/2559855\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp> \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/-SlId-8Noh8'\n title='//www.youtube.com/embed/-SlId-8Noh8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>It will hard to imagine the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> without \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>. This champion of women as conductors and composers is exiting after 25 years as artistic director and conductor at the festival, leaving a brilliant legacy of newly commissioned music. The video above is for a new symphonic ballet by \u003ca href=\"http://www.annaclyne.com/\" target=\"_blank\" rel=\"noopener\">Anna Clyne \u003c/a>preming at the festival. And over the years, Alsop has welcomed Berkeley’s \u003ca href=\"http://www.earbox.com/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> (composing a new work this year dedicated to Alsop), the Peninsula’s \u003ca href=\"http://www.masonbates.com\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a>, John Corigliano, Jennifer Higdon and many others. Don’t miss your chance to see Alsop’s swan song. (Wouldn’t it be nice if the San Francisco Symphony brings her back to the Bay Area as a guest conductor once in a while. Imagine her taking over for MTT when he eventually retires). Details for Cabrillo are \u003ca href=\"http://cabrillomusic.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/o9OY_-PHMTs'\n title='//www.youtube.com/embed/o9OY_-PHMTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10-27\u003c/strong>: Here’s a stage musical that promises to be topless, tasteless and so much fun. \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/04/its-still-ok-to-hate-em-showgirls-em/360644/\" target=\"_blank\" rel=\"noopener\">\u003cem>Showgirls\u003c/em>\u003c/a> was a really trashy and exploitative 1995 film, starring Gina Gershon and Elizabeth Berkeley, about Vegas showgirls, and what they’ll do (anything, apparently) to succeed. The movie has long been a favorite of drag queens, and now we’re getting the West Coast premiere of \u003cem>Showgirls the Musical\u003c/em>, co-starring \u003ca href=\"http://aprilkidwell.com/\" target=\"_blank\" rel=\"noopener\">April Kidwell \u003c/a>(repeating the role she originated in the New York production) and San Francisco drag queen \u003ca href=\"http://store.peacheschrist.com/\" target=\"_blank\" rel=\"noopener\">Peaches Christ \u003c/a>(Joshua Grannell), in the role of the older diva. “As drag queens and cult enthusiasts,” Christ/Grannell told me, “we saw the value in taking this film, and celebrating the absurdity, so that we take the misogyny and the sexism and put it in a drag context, and refuse to take this seriously. I don’t think this was the intention of the filmmakers at all.” This is a rare adults-only Do List item, and details for the run at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco are \u003ca href=\"http://www.showgirlsthemusical.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/NDOenFQazrA'\n title='//www.youtube.com/embed/NDOenFQazrA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10: \u003c/strong>\u003ca href=\"http://ezrafurman.com/\" target=\"_blank\" rel=\"noopener\">Ezra Furman\u003c/a> is another performer who looks good in pearls (see Peaches Christ above), He’s a gender non-conforming, smart (and smartass) conservative Jew who doesn’t play concerts on the Sabbath (Friday evening through Saturday at dusk). He’s also a terrific songwriter and singer with a knack for power pop melodic hooks, and a deep respect for rock and roll traditions from doo-wop to Bruce Springsteen to Little Richard. His new EP is about “the theme of the mind unmoored,” but Furman never seems to lose his artistic way. Details for his show at the Swedish American Hall in San Francisco Wednesday, are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/224/\" 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/IICw3txlrbs'\n title='//www.youtube.com/embed/IICw3txlrbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Through Aug 6\u003c/strong>: For a couple of years now, we’ve been following San Francisco choreographer \u003ca href=\"http://www.postballet.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Robert Dekkers\u003c/a>‘ evolving dance opus about community and our place in the universe. Now he and his company \u003ca href=\"http://www.postballet.org/\" target=\"_blank\" rel=\"noopener\">Post:Ballet\u003c/a> are performing all the chapters together in a new staging that features food, mylar balloons, and live music performed by the Living Earth Project. Expect strange and brilliant\u003cem>. Details \u003ca href=\"http://www.zspace.org/guest-shows/do-be\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tech CEOs and Ancestral Spirits Collide with Mixed Results in 'Campo Maldito'",
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"content": "\u003cp>For Ken Ingersoll, the CEO of a tech start-up looking to give loans to poor Tenderloin residents, belief is everything. He believed in his company, in its mission, and is his ability to retire at 40. After a number of minor disasters, Ingersoll starts to feel as if he might be cursed. It’s the word Hieronymo Acosta, a recovering alcoholic and exorcist for hire, uses when he suggests that Ingersoll’s problems might be of a more supernatural nature.\u003c/p>\n\u003cp>It’s an intriguing start to Bennet Fisher’s \u003ca href=\"http://www.peopleofinterest.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Campo Maldito\u003c/em>\u003c/a>, a show from People of Interest theater company that is returning to the \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit Theatre\u003c/a> after successful runs at the San Francisco and New York Fringe festivals. The whole of the play’s sly architecture is present in those first, awkward exchanges. In Ingersoll and Acosta, we can instantly read San Francisco’s deepening economic and racial divisions — and its spiritual and technological ones as well.\u003c/p>\n\u003cfigure id=\"attachment_11890057\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11890057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/campoedit3-800x451.jpg\" alt=\"Hieronymo Acosta (Luis Vega) decided to cut the clothes off Ken Ingersoll (Walker Hare) People of Interest's 'Campo Maldito.'\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campoedit3-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campoedit3-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campoedit3-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campoedit3-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campoedit3.jpg 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieronymo Acosta (Luis Vega) decided to cut the clothes off Ken Ingersoll (Walker Hare) People of Interest’s ‘Campo Maldito.’ \u003ccite>(Photo: Jim Carmody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many people in the Bay Area, the arrival of the tech revolution, even when it swaths itself in the cloak of social justice, is a nightmare. So when an \u003cem>egun \u003c/em>(an ancestral spirit of the Yoruba tradition) starts to terrorize the tech-savvy, man-child Ingersoll, it’s a blast. You can always count on horror to turn the equation of terror around.\u003c/p>\n\u003cp>And for a while the play floats along on a giddy sense of impending disaster thanks to fine performances by Walker Hare and Luis Vega, and energetic and precise direction from Jesca Prudencio. Yet it all feels rigged — a too neatly contained revenge fantasy that panders to what we think we know about technology, youth, wealth, and gentrification.\u003c/p>\n\u003cp>The character of Acosta is in many ways nothing more than a Latino magic negro, there to administer life lessons to tortured white boys. His motives are unbelievable, even to the \u003cem>egun\u003c/em>. When she asks Acosta what he owes Ingersoll, he has no answer and the play rushes past that lapse in logic as quickly as possible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The result is that the stakes of \u003cem>Campo Maldito\u003c/em> often seem belabored and small. It’s hard to believe that the simple destruction of office equipment would be enough to destroy Ingersoll’s business. This could be easily administered offline. Or the vengeful spirit’s quite reasonable notions of payback, which seem far too balanced for a vengeful spirit. If this is terror, it’s rather daintily meted out.\u003c/p>\n\u003cp>Horror has a great capacity for symbolic expression; fear takes in everything and creates its own meaning. And that’s something Fisher refuses to risk — a thinking audience capable of coming to radically different conclusions than his own. We all need to think about the terrors of our virulent, tech economy. But we can’t do it with plays, novels, and art designed to shepherd us to the safety of clichés, and the hell of our own good intentions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Campo Maldito\u003c/em> plays through Saturday, Aug. 13 at the Exit Theatre in San Francisco. For tickets and information please click \u003ca href=\"http://www.peopleofinterest.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Ken Ingersoll, the CEO of a tech start-up looking to give loans to poor Tenderloin residents, belief is everything. He believed in his company, in its mission, and is his ability to retire at 40. After a number of minor disasters, Ingersoll starts to feel as if he might be cursed. It’s the word Hieronymo Acosta, a recovering alcoholic and exorcist for hire, uses when he suggests that Ingersoll’s problems might be of a more supernatural nature.\u003c/p>\n\u003cp>It’s an intriguing start to Bennet Fisher’s \u003ca href=\"http://www.peopleofinterest.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Campo Maldito\u003c/em>\u003c/a>, a show from People of Interest theater company that is returning to the \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit Theatre\u003c/a> after successful runs at the San Francisco and New York Fringe festivals. The whole of the play’s sly architecture is present in those first, awkward exchanges. In Ingersoll and Acosta, we can instantly read San Francisco’s deepening economic and racial divisions — and its spiritual and technological ones as well.\u003c/p>\n\u003cfigure id=\"attachment_11890057\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11890057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/campoedit3-800x451.jpg\" alt=\"Hieronymo Acosta (Luis Vega) decided to cut the clothes off Ken Ingersoll (Walker Hare) People of Interest's 'Campo Maldito.'\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campoedit3-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campoedit3-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campoedit3-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campoedit3-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campoedit3.jpg 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieronymo Acosta (Luis Vega) decided to cut the clothes off Ken Ingersoll (Walker Hare) People of Interest’s ‘Campo Maldito.’ \u003ccite>(Photo: Jim Carmody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many people in the Bay Area, the arrival of the tech revolution, even when it swaths itself in the cloak of social justice, is a nightmare. So when an \u003cem>egun \u003c/em>(an ancestral spirit of the Yoruba tradition) starts to terrorize the tech-savvy, man-child Ingersoll, it’s a blast. You can always count on horror to turn the equation of terror around.\u003c/p>\n\u003cp>And for a while the play floats along on a giddy sense of impending disaster thanks to fine performances by Walker Hare and Luis Vega, and energetic and precise direction from Jesca Prudencio. Yet it all feels rigged — a too neatly contained revenge fantasy that panders to what we think we know about technology, youth, wealth, and gentrification.\u003c/p>\n\u003cp>The character of Acosta is in many ways nothing more than a Latino magic negro, there to administer life lessons to tortured white boys. His motives are unbelievable, even to the \u003cem>egun\u003c/em>. When she asks Acosta what he owes Ingersoll, he has no answer and the play rushes past that lapse in logic as quickly as possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result is that the stakes of \u003cem>Campo Maldito\u003c/em> often seem belabored and small. It’s hard to believe that the simple destruction of office equipment would be enough to destroy Ingersoll’s business. This could be easily administered offline. Or the vengeful spirit’s quite reasonable notions of payback, which seem far too balanced for a vengeful spirit. If this is terror, it’s rather daintily meted out.\u003c/p>\n\u003cp>Horror has a great capacity for symbolic expression; fear takes in everything and creates its own meaning. And that’s something Fisher refuses to risk — a thinking audience capable of coming to radically different conclusions than his own. We all need to think about the terrors of our virulent, tech economy. But we can’t do it with plays, novels, and art designed to shepherd us to the safety of clichés, and the hell of our own good intentions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Campo Maldito\u003c/em> plays through Saturday, Aug. 13 at the Exit Theatre in San Francisco. For tickets and information please click \u003ca href=\"http://www.peopleofinterest.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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