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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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"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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"excerpt": "Yellowface and blackface are surprisingly common on stages and screens around the world.",
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"title": "Bay Area Theater Co's Work to End Yellowface and Blackface in Shows | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/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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"slug": "cy-and-davids-picks-a-breakup-album-a-pair-of-street-fests-and-dancing-on-air",
"title": "Cy and David's Picks: A Breakup Album, a Pair of Street Fests, and Dancing on Air",
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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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"title": "Cy and David's Picks: A Breakup Album, a Pair of Street Fests, and Dancing on Air | 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>\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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"title": "Politics Takes Center Stage at Bay Area Theaters",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/275966310″ 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>It’s no coincidence that a number of plays on Bay Area stages this summer and fall are featuring the same character, one with a strong resemblance to a certain Republican presidential nominee. The most explicit is Dan Hoyle’s one man show \u003cem>The Real Americans,\u003c/em> which he is performing \u003ca href=\"https://themarsh.org/dan_hoyle/dan-hoyle-2/\" target=\"_blank\" rel=\"noopener\"> at the Marsh in San Francisco\u003c/a>.\u003c/p>\n\u003cp>“Donald Trump, he gonna be president,” says Hoyle in the role of Roy, an African-American, with his t-shirt pulled up and a pack of cigarettes rolled in a sleeve. “I like a president that’s bold. That has some balls. I mean Obama. He was a good president. But they didn’t let him do nothing. They gave him the keys to the city and he locked up the doors.”\u003c/p>\n\u003cfigure id=\"attachment_11832278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg\" alt=\"Dan Hoyle finds himself in 'The Real Americans' at The Marsh.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Hoyle finds himself in ‘The Real Americans’ at The Marsh. \u003ccite>(Photo: Patrick Weishampel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hoyle plays a dozen or so characters, based on interviews he did driving around the country during the recession, in 2008, and again last spring.\u003c/p>\n\u003cp>“If anything,” he said, “the desperation is greater. Especially for working class folks if they lost their jobs. And people’s sense of disenfranchisement makes them think things that probably aren’t all based in fact.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, many of his interviewees, mirroring the national mood, were passionate about Republican nominee Donald Trump or former Vermont Senator Bernie Sanders. Democratic nominee, Hillary Clinton, not so much. And that goes for the characters he portrays from the Bay Area as well.\u003c/p>\n\u003cp>“One of my Lyft customers was telling me that she was going to vote for Bernie,” says Hoyle in the role of a gig economy underachiever. “But now she’ll vote for Trump because he understands her anger.”\u003c/p>\n\u003cp>The Bay Area has long supported political theater. “We believe in the public square,” \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theater Bay Area Executive Director Brad Ericson\u003c/a> says, “we believe that our voices can make a difference.”\u003c/p>\n\u003cp>It’s often hard for theater companies to respond quickly to current events, as plays can take years to develop. But Ericson, who’s worked in the Bay Area theater scene since the early 1980s, can’t remember a time when so many shows focused on an upcoming election.\u003c/p>\n\u003cp>“We’re seeing a real flurry of political theater,” Ericson says, “just because the stakes seem to be so high. This is such a bizarre political season.”\u003c/p>\n\u003cp>\u003cstrong>The First American Play\u003c/strong>\u003c/p>\n\u003cp>Still, American Theater has often been a forum for both partisan politics and debates about race and class.\u003c/p>\n\u003cp>“The very \u003ca href=\"https://padavisblog.wordpress.com/2013/08/27/today-in-theatre-history-american-theatres-first-really-bad-review-august-27-1665/\" target=\"_blank\" rel=\"noopener\">first known play was called \u003cem>Ye Bare and Ye Cubb\u003c/em>\u003c/a>, which was a political tract about why colonists should not have to pay taxes,” says \u003ca href=\"https://www.usfca.edu/faculty/christine-young\" target=\"_blank\" rel=\"noopener\">Christine Young\u003c/a>, an assistant professor and chair of the performing arts and social justice program at the University of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11868272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11868272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg\" alt=\"A poster for a stage version of "Uncle Tom's Cabin' \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-400x266.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-1180x784.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-960x638.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster for a stage version of “Uncle Tom’s Cabin’ \u003ccite>(Photo: Lithograph courtesy of the Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was 1655. Scholars say millions of people saw theatrical versions of the anti-slavery novel \u003cem>Uncle Tom’s Cabin\u003c/em>. And in the 1930s, the Federal Theater project produced plays supporting Roosevelt’s New Deal.\u003c/p>\n\u003cp>“There were plays that opened in cities all across the country,” Young says, “and thousands if not millions of people saw the same plays.”\u003c/p>\n\u003cp>\u003cstrong>Can It Happen Here?\u003c/strong>\u003c/p>\n\u003cp>The prime example was \u003ca href=\"http://www.salon.com/2015/09/29/it_really_can_happen_here_the_novel_that_foreshadowed_donald_trumps_authoritarian_appeal/\" target=\"_blank\" rel=\"noopener\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, based on Sinclair Lewis’ novel, in which the populist senator Buzz Windrip wins the presidency with an “America First” campaign, then imposes a fascist state. The Federal Theater Project opened the show in 21 theaters across the country in 1936, with the Depression gripping America, and Hitler and Mussolini on the rise in Europe. And the novel is getting a fresh look in September from the Berkeley Repertory Theater.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-c7CPvoMKnU\u003c/p>\n\u003cp>A group of actors and members of the stage crew gathered recently for a first ever reading of the script, with dialogue that could be the transcription of a modern political talk show about the candidacy of Donald Trump.\u003c/p>\n\u003cp>“Philip,” a woman says of Buzz Windrip, “the man’s a racist and a misogynist.”\u003c/p>\n\u003cp>“Yes, Lorinda,” the character Philip answers, “he’s said some terrible and inflammatory things, but why do you think so many people support him. And it’s not because they’re all stupid and blind. People want a voice.”\u003c/p>\n\u003cfigure id=\"attachment_11868290\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11868290\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Tony-Taccone-co-playwright-for-It-Cant-Happen-Here-an-adaptation-of-the-Sinclair-Lewis-novel.jpg\" alt=\"Tony Taccone co-playwright for 'It Can't Happen Here,' an adaptation of the Sinclair Lewis novel\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Tony Taccone co-playwright for ‘It Can’t Happen Here,’ an adaptation of the Sinclair Lewis novel \u003ccite>(Photo: kevinberne.com/Berkeley Repertory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett Cohen wrote this new adaptation of Lewis’ book with Berkeley Rep’s Artistic Director Tony Taccone. “It was just so clear,” Taccone says, “that the book was screaming to be done.\u003c/p>\n\u003cp>“The similarities between Buzz Windrip and Donald Trump are astonishing,” Taccone says. “In the sense that what Trump has done, like the character in the book, he’s taken this unadorned self, and put it out there, as something that’s more “real” than any politician. And there’s a significant portion of the population that buys it.”\u003c/p>\n\u003cp>Beyond that mirroring, Taccone says \u003cem>It Can’t Happen Here\u003c/em> fits well with Berkeley Rep’s mission.\u003c/p>\n\u003cp>“It’s critical for a theater to be in dialogue with its community about what’s going on” Taccone says, “and between climate change and terrorism, we’re embedded in a very, very fearful time in the history of the world.”\u003c/p>\n\u003cp>\u003cstrong>The People Want a Voice\u003c/strong>\u003c/p>\n\u003cp>That ideal of community engagement matters a lot for most theater companies, but few are so clear in their politics as The San Francisco Mime Troupe.\u003c/p>\n\u003cp>“Theater is a hammer with which you shape the world,” says the Mime Troupe’s Resident Playwright Michael Gene Sullivan. “All theater is political in my opinion.”\u003c/p>\n\u003cfigure id=\"attachment_11868291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11868291 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg\" alt=\"An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe's new show 'Schooled'\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe’s new show ‘Schooled’ \u003ccite>(Photo: Mike@mikemelnyk.com/San Francisco Mime Troupe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Mime Troupe show, \u003cem>Schooled\u003c/em>, features an orange0haired candidate running for the school board against a moderate (think Hillary Clinton) and a leftie (think Bernie Sanders).\u003c/p>\n\u003cp>The Mime Troupe makes explicitly \u003ca href=\"https://en.wikipedia.org/wiki/Agitprop\" target=\"_blank\" rel=\"noopener\">agitprop theater\u003c/a>, Sullivan says, which is meant to whip up the audience and get them to join a cause.\u003c/p>\n\u003cp>“If the audience leaves the theater basically the same people when they entered,” Sullivan says, “the show failed. Because your job is to change them.”\u003c/p>\n\u003cp>But most theater artists say they aspire to a more modest ambition, to inspire a sense of compassion and connection to people who may hold very different views.\u003c/p>\n\u003cp>“The long game for me is all about empathy,” Dan Hoyle says. “And you might not agree with the people on stage, but if you try to understand the world thru their eyes, I think that’s transformational in the long term.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So a political play may succeed simply if the audience is talking about the play, arguing about the issues, and caring about their fellow human beings as they leave the theater.\u003c/p>\n\n",
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"excerpt": "Republican nominee Donald Trump is a recurring character on Bay Area stages this summer and fall.",
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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/275966310″&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/275966310″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s no coincidence that a number of plays on Bay Area stages this summer and fall are featuring the same character, one with a strong resemblance to a certain Republican presidential nominee. The most explicit is Dan Hoyle’s one man show \u003cem>The Real Americans,\u003c/em> which he is performing \u003ca href=\"https://themarsh.org/dan_hoyle/dan-hoyle-2/\" target=\"_blank\" rel=\"noopener\"> at the Marsh in San Francisco\u003c/a>.\u003c/p>\n\u003cp>“Donald Trump, he gonna be president,” says Hoyle in the role of Roy, an African-American, with his t-shirt pulled up and a pack of cigarettes rolled in a sleeve. “I like a president that’s bold. That has some balls. I mean Obama. He was a good president. But they didn’t let him do nothing. They gave him the keys to the city and he locked up the doors.”\u003c/p>\n\u003cfigure id=\"attachment_11832278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg\" alt=\"Dan Hoyle finds himself in 'The Real Americans' at The Marsh.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Hoyle finds himself in ‘The Real Americans’ at The Marsh. \u003ccite>(Photo: Patrick Weishampel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hoyle plays a dozen or so characters, based on interviews he did driving around the country during the recession, in 2008, and again last spring.\u003c/p>\n\u003cp>“If anything,” he said, “the desperation is greater. Especially for working class folks if they lost their jobs. And people’s sense of disenfranchisement makes them think things that probably aren’t all based in fact.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, many of his interviewees, mirroring the national mood, were passionate about Republican nominee Donald Trump or former Vermont Senator Bernie Sanders. Democratic nominee, Hillary Clinton, not so much. And that goes for the characters he portrays from the Bay Area as well.\u003c/p>\n\u003cp>“One of my Lyft customers was telling me that she was going to vote for Bernie,” says Hoyle in the role of a gig economy underachiever. “But now she’ll vote for Trump because he understands her anger.”\u003c/p>\n\u003cp>The Bay Area has long supported political theater. “We believe in the public square,” \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theater Bay Area Executive Director Brad Ericson\u003c/a> says, “we believe that our voices can make a difference.”\u003c/p>\n\u003cp>It’s often hard for theater companies to respond quickly to current events, as plays can take years to develop. But Ericson, who’s worked in the Bay Area theater scene since the early 1980s, can’t remember a time when so many shows focused on an upcoming election.\u003c/p>\n\u003cp>“We’re seeing a real flurry of political theater,” Ericson says, “just because the stakes seem to be so high. This is such a bizarre political season.”\u003c/p>\n\u003cp>\u003cstrong>The First American Play\u003c/strong>\u003c/p>\n\u003cp>Still, American Theater has often been a forum for both partisan politics and debates about race and class.\u003c/p>\n\u003cp>“The very \u003ca href=\"https://padavisblog.wordpress.com/2013/08/27/today-in-theatre-history-american-theatres-first-really-bad-review-august-27-1665/\" target=\"_blank\" rel=\"noopener\">first known play was called \u003cem>Ye Bare and Ye Cubb\u003c/em>\u003c/a>, which was a political tract about why colonists should not have to pay taxes,” says \u003ca href=\"https://www.usfca.edu/faculty/christine-young\" target=\"_blank\" rel=\"noopener\">Christine Young\u003c/a>, an assistant professor and chair of the performing arts and social justice program at the University of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11868272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11868272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg\" alt=\"A poster for a stage version of "Uncle Tom's Cabin' \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-400x266.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-1180x784.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3-960x638.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Uncle-Toms-Cabin-3.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster for a stage version of “Uncle Tom’s Cabin’ \u003ccite>(Photo: Lithograph courtesy of the Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was 1655. Scholars say millions of people saw theatrical versions of the anti-slavery novel \u003cem>Uncle Tom’s Cabin\u003c/em>. And in the 1930s, the Federal Theater project produced plays supporting Roosevelt’s New Deal.\u003c/p>\n\u003cp>“There were plays that opened in cities all across the country,” Young says, “and thousands if not millions of people saw the same plays.”\u003c/p>\n\u003cp>\u003cstrong>Can It Happen Here?\u003c/strong>\u003c/p>\n\u003cp>The prime example was \u003ca href=\"http://www.salon.com/2015/09/29/it_really_can_happen_here_the_novel_that_foreshadowed_donald_trumps_authoritarian_appeal/\" target=\"_blank\" rel=\"noopener\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, based on Sinclair Lewis’ novel, in which the populist senator Buzz Windrip wins the presidency with an “America First” campaign, then imposes a fascist state. The Federal Theater Project opened the show in 21 theaters across the country in 1936, with the Depression gripping America, and Hitler and Mussolini on the rise in Europe. And the novel is getting a fresh look in September from the Berkeley Repertory Theater.\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/-c7CPvoMKnU'\n title='//www.youtube.com/embed/-c7CPvoMKnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A group of actors and members of the stage crew gathered recently for a first ever reading of the script, with dialogue that could be the transcription of a modern political talk show about the candidacy of Donald Trump.\u003c/p>\n\u003cp>“Philip,” a woman says of Buzz Windrip, “the man’s a racist and a misogynist.”\u003c/p>\n\u003cp>“Yes, Lorinda,” the character Philip answers, “he’s said some terrible and inflammatory things, but why do you think so many people support him. And it’s not because they’re all stupid and blind. People want a voice.”\u003c/p>\n\u003cfigure id=\"attachment_11868290\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11868290\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Tony-Taccone-co-playwright-for-It-Cant-Happen-Here-an-adaptation-of-the-Sinclair-Lewis-novel.jpg\" alt=\"Tony Taccone co-playwright for 'It Can't Happen Here,' an adaptation of the Sinclair Lewis novel\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Tony Taccone co-playwright for ‘It Can’t Happen Here,’ an adaptation of the Sinclair Lewis novel \u003ccite>(Photo: kevinberne.com/Berkeley Repertory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett Cohen wrote this new adaptation of Lewis’ book with Berkeley Rep’s Artistic Director Tony Taccone. “It was just so clear,” Taccone says, “that the book was screaming to be done.\u003c/p>\n\u003cp>“The similarities between Buzz Windrip and Donald Trump are astonishing,” Taccone says. “In the sense that what Trump has done, like the character in the book, he’s taken this unadorned self, and put it out there, as something that’s more “real” than any politician. And there’s a significant portion of the population that buys it.”\u003c/p>\n\u003cp>Beyond that mirroring, Taccone says \u003cem>It Can’t Happen Here\u003c/em> fits well with Berkeley Rep’s mission.\u003c/p>\n\u003cp>“It’s critical for a theater to be in dialogue with its community about what’s going on” Taccone says, “and between climate change and terrorism, we’re embedded in a very, very fearful time in the history of the world.”\u003c/p>\n\u003cp>\u003cstrong>The People Want a Voice\u003c/strong>\u003c/p>\n\u003cp>That ideal of community engagement matters a lot for most theater companies, but few are so clear in their politics as The San Francisco Mime Troupe.\u003c/p>\n\u003cp>“Theater is a hammer with which you shape the world,” says the Mime Troupe’s Resident Playwright Michael Gene Sullivan. “All theater is political in my opinion.”\u003c/p>\n\u003cfigure id=\"attachment_11868291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11868291 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg\" alt=\"An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe's new show 'Schooled'\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/An-orange-haired-character-resembling-Donald-Trump-is-in-the-San-Francisco-Mime-Troupes-new-show-Schooled-e1469740066964.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An orange haired character resembling Donald Trump is in the San Francisco Mime Troupe’s new show ‘Schooled’ \u003ccite>(Photo: Mike@mikemelnyk.com/San Francisco Mime Troupe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Mime Troupe show, \u003cem>Schooled\u003c/em>, features an orange0haired candidate running for the school board against a moderate (think Hillary Clinton) and a leftie (think Bernie Sanders).\u003c/p>\n\u003cp>The Mime Troupe makes explicitly \u003ca href=\"https://en.wikipedia.org/wiki/Agitprop\" target=\"_blank\" rel=\"noopener\">agitprop theater\u003c/a>, Sullivan says, which is meant to whip up the audience and get them to join a cause.\u003c/p>\n\u003cp>“If the audience leaves the theater basically the same people when they entered,” Sullivan says, “the show failed. Because your job is to change them.”\u003c/p>\n\u003cp>But most theater artists say they aspire to a more modest ambition, to inspire a sense of compassion and connection to people who may hold very different views.\u003c/p>\n\u003cp>“The long game for me is all about empathy,” Dan Hoyle says. “And you might not agree with the people on stage, but if you try to understand the world thru their eyes, I think that’s transformational in the long term.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So a political play may succeed simply if the audience is talking about the play, arguing about the issues, and caring about their fellow human beings as they leave the theater.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ubuntu's 'Hurt Village' is Set in Memphis, but is Really About Oakland",
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"content": "\u003cp>Katori Hall’s \u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hurt Village\u003c/em>\u003c/a>—in a wild, take-it-to-the limit Ubuntu Theater Project production staged at a crumbling, old Baptist church in Oakland — litters the stage with false prophets. You want to warn the play’s 13-year-old, rap-obsessed heroine, Cookie, to run. But the question is to where. Every possibility in front of her is poisoned with the devil’s truth: knowledge and power, but at the cost of one’s soul.\u003c/p>\n\u003cp>Hall’s vision is relentless and harrowing. Cookie’s home, the Memphis housing project “Hurt Village,” is more of a state of mind than an actual place. That it is scheduled to be demolished and all the residents relocated — as actually happened to the real Hurt Village over the course of three years starting in 2000 — only adds to its mythic allure. Here, on the cusp of radical social change, anything can happen, and the brilliant Cookie feels it all.\u003c/p>\n\u003cp>The play is rich in incident and character. There’s the matriarch Big Mama, Cookie’s great-grandmother, a toxic mix of goodness and fatalism; there’s Cookie’s mother, Crank, a recovered crack-addict, desperate to go to cosmetology school so that she can set up her own salon; and then there’s Cookie’s father, Buggy, a returning Iraq war veteran, who’s kind and gentle and elusive. And that’s just the beginning of the village, whose population includes a drug dealing Fed-Ex driver, a feminist stripper, and a drug kingpin with a penchant for philosophical asides and casual sadism.\u003c/p>\n\u003cp>So it’s appropriate that the play opens with Cookie taking on the role of village troubadour, the all-seeing artist — “I spin ghetto tales that’ll make you weep,” she declares in a bracing entrance that matches the bravado of the slickest rappers.\u003cstrong> \u003c/strong>It’s clear that Cookie’s rhyme is provisional, that she’s testing it out, and that it’s not a finished product. The effect is stunning, though — a complex but plain depiction of a child with real artistic instincts, but, not as yet an artist, and, most importantly, not even close to possessing a full adult consciousness. Cookie’s tales exceed her understanding.\u003c/p>\n\u003cfigure id=\"attachment_11858213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11858213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-800x457.jpg\" alt=\"Cookie (Chaz Shermil) tries to understand the chaos around her in Unbuntu Theater Project's 'Hurt Village.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cookie (Chaz Shermil) tries to understand the chaos around her in Unbuntu Theater Project’s ‘Hurt Village.’ \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chaz Shermil is astounding as Cookie and it’s her ability to play these in-between, transitional states that gives the young actress’s performance an uncanny realism. I have no idea whether Shermil is an uncommonly poised teenager or an adult with uncommon abilities. Whatever the case, she manages to convey incompleteness in riveting detail. It’s not just great acting, but a realization of the play’s deepest concerns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In one of the best scenes of the evening, two neighborhood boys play the dozens and Cookie jumps in and blows them away. It’s not that they’re bad, it’s that she’s just that good: sharp, intelligent, and whippet quick. Everyone can feel it. From her family and her mother’s married lover, to the local drug king pin and the boys she humiliates. In a world of brutal sexual exchange, Cookie is an object of fascination because of her mind. And the question becomes not only what will become of her, but also how do you write about her? Where does she belong in a play like \u003cem>Hurt Village\u003c/em>?\u003c/p>\n\u003cp>The playwright has clearly devoured the western literary canon and its merging with African-American experience. The drama possesses touches of the melodrama of Lorraine Hansberry’s \u003cem>Raisin in the Sun,\u003c/em> the brutal social realism of Richard Wright, James Baldwin’s belief in the exceptional, and the crazed revenge fantasies of early 1970’s Blaxploitation films. And yet there’s something distant in Hall’s approach, as if she sees the limits of storytelling even as she’s telling the story.\u003c/p>\n\u003cp>And this is what makes \u003cem>Hurt Village\u003c/em> so strange and affecting: Cookie, the star of the show, is almost unrepresentable. And for large parts of the play, the character drifts on the periphery, an afterthought to the real drama. In almost successive scenes, both Cookie’s great-grandmother and mother get on their knees and beg. She barely understands how close her father is to going back to war; only this time the battlefield is right outside her door. Lives implode around her, a neighborhood teen dies, and yet none of this registers with her in quite the way we might think.\u003c/p>\n\u003cfigure id=\"attachment_11859572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11859572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-800x450.jpg\" alt=\"(L to R) Cookie (Chaz Shermil) watches as her mother Crank (Jasmine Hughes) and great-grandmother Big Mama (Kimba Daniels) implode in Ubunta Theater Projects' 'Hurt Village.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Cookie (Chaz Shermil) watches as her mother Crank (Jasmine Hughes) and great-grandmother Big Mama (Kimba Daniels) implode in Ubunta Theater Projects’ ‘Hurt Village.’ \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cookie is free of the trap of history and conventions. Everything is new to her. So she watches, while others preach. We know that everyone in her village is playing a well-worn role, but she doesn’t. So almost everything that’s said to her she treats with extreme consideration. Cookie listens, always trying to jibe what she’s told with what she knows. One might say that this character is continually moving from belief to disenchantment.\u003c/p>\n\u003cp>The Ubuntu production under Nataki Garret’s direction catches the central mystery of Cookie and casts a spell that’s hard to shake. You sit in the beautiful loft of the elegant, rundown Grace Temple Church and you look up to the sky and feel the world’s embrace. And then you watch what happens in this play and that embrace is fractured. Like Cookie, we, too, become disenchanted. No story can account for such vicious, social failures, especially when the prophets of the village, good and bad, are all false.\u003c/p>\n\u003cp>This is the last production of Ubuntu’s “Season of Displacement,” and it takes place in a Baptist church in one of the few corners of Oakland not quite yet touched by gentrification. We’re watching a show about Memphis and the destruction of a community where many, many people suffered. In Oakland, many, many people are suffering today. “These project walls will crumble to the ground, and the tears and bloodshed will soon be forgotten,” Cookie tells us at the end of the play. Has she become a prophet or a realist? Hall hesitates to answer. But if we listen carefully enough, we can certainly hear the screams.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Hurt Village\u003c/em> plays through Sunday, Jul. 31 at the Grace Temple Church in Oakland. For tickets and information please click \u003ca href=\"http://ubuntutheaterproject.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Katori Hall’s \u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hurt Village\u003c/em>\u003c/a>—in a wild, take-it-to-the limit Ubuntu Theater Project production staged at a crumbling, old Baptist church in Oakland — litters the stage with false prophets. You want to warn the play’s 13-year-old, rap-obsessed heroine, Cookie, to run. But the question is to where. Every possibility in front of her is poisoned with the devil’s truth: knowledge and power, but at the cost of one’s soul.\u003c/p>\n\u003cp>Hall’s vision is relentless and harrowing. Cookie’s home, the Memphis housing project “Hurt Village,” is more of a state of mind than an actual place. That it is scheduled to be demolished and all the residents relocated — as actually happened to the real Hurt Village over the course of three years starting in 2000 — only adds to its mythic allure. Here, on the cusp of radical social change, anything can happen, and the brilliant Cookie feels it all.\u003c/p>\n\u003cp>The play is rich in incident and character. There’s the matriarch Big Mama, Cookie’s great-grandmother, a toxic mix of goodness and fatalism; there’s Cookie’s mother, Crank, a recovered crack-addict, desperate to go to cosmetology school so that she can set up her own salon; and then there’s Cookie’s father, Buggy, a returning Iraq war veteran, who’s kind and gentle and elusive. And that’s just the beginning of the village, whose population includes a drug dealing Fed-Ex driver, a feminist stripper, and a drug kingpin with a penchant for philosophical asides and casual sadism.\u003c/p>\n\u003cp>So it’s appropriate that the play opens with Cookie taking on the role of village troubadour, the all-seeing artist — “I spin ghetto tales that’ll make you weep,” she declares in a bracing entrance that matches the bravado of the slickest rappers.\u003cstrong> \u003c/strong>It’s clear that Cookie’s rhyme is provisional, that she’s testing it out, and that it’s not a finished product. The effect is stunning, though — a complex but plain depiction of a child with real artistic instincts, but, not as yet an artist, and, most importantly, not even close to possessing a full adult consciousness. Cookie’s tales exceed her understanding.\u003c/p>\n\u003cfigure id=\"attachment_11858213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11858213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-800x457.jpg\" alt=\"Cookie (Chaz Shermil) tries to understand the chaos around her in Unbuntu Theater Project's 'Hurt Village.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/HurtVillage1-e1469520799374-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cookie (Chaz Shermil) tries to understand the chaos around her in Unbuntu Theater Project’s ‘Hurt Village.’ \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chaz Shermil is astounding as Cookie and it’s her ability to play these in-between, transitional states that gives the young actress’s performance an uncanny realism. I have no idea whether Shermil is an uncommonly poised teenager or an adult with uncommon abilities. Whatever the case, she manages to convey incompleteness in riveting detail. It’s not just great acting, but a realization of the play’s deepest concerns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In one of the best scenes of the evening, two neighborhood boys play the dozens and Cookie jumps in and blows them away. It’s not that they’re bad, it’s that she’s just that good: sharp, intelligent, and whippet quick. Everyone can feel it. From her family and her mother’s married lover, to the local drug king pin and the boys she humiliates. In a world of brutal sexual exchange, Cookie is an object of fascination because of her mind. And the question becomes not only what will become of her, but also how do you write about her? Where does she belong in a play like \u003cem>Hurt Village\u003c/em>?\u003c/p>\n\u003cp>The playwright has clearly devoured the western literary canon and its merging with African-American experience. The drama possesses touches of the melodrama of Lorraine Hansberry’s \u003cem>Raisin in the Sun,\u003c/em> the brutal social realism of Richard Wright, James Baldwin’s belief in the exceptional, and the crazed revenge fantasies of early 1970’s Blaxploitation films. And yet there’s something distant in Hall’s approach, as if she sees the limits of storytelling even as she’s telling the story.\u003c/p>\n\u003cp>And this is what makes \u003cem>Hurt Village\u003c/em> so strange and affecting: Cookie, the star of the show, is almost unrepresentable. And for large parts of the play, the character drifts on the periphery, an afterthought to the real drama. In almost successive scenes, both Cookie’s great-grandmother and mother get on their knees and beg. She barely understands how close her father is to going back to war; only this time the battlefield is right outside her door. Lives implode around her, a neighborhood teen dies, and yet none of this registers with her in quite the way we might think.\u003c/p>\n\u003cfigure id=\"attachment_11859572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11859572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-800x450.jpg\" alt=\"(L to R) Cookie (Chaz Shermil) watches as her mother Crank (Jasmine Hughes) and great-grandmother Big Mama (Kimba Daniels) implode in Ubunta Theater Projects' 'Hurt Village.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hurt-Village-last-e1469553631565-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Cookie (Chaz Shermil) watches as her mother Crank (Jasmine Hughes) and great-grandmother Big Mama (Kimba Daniels) implode in Ubunta Theater Projects’ ‘Hurt Village.’ \u003ccite>(Photo: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cookie is free of the trap of history and conventions. Everything is new to her. So she watches, while others preach. We know that everyone in her village is playing a well-worn role, but she doesn’t. So almost everything that’s said to her she treats with extreme consideration. Cookie listens, always trying to jibe what she’s told with what she knows. One might say that this character is continually moving from belief to disenchantment.\u003c/p>\n\u003cp>The Ubuntu production under Nataki Garret’s direction catches the central mystery of Cookie and casts a spell that’s hard to shake. You sit in the beautiful loft of the elegant, rundown Grace Temple Church and you look up to the sky and feel the world’s embrace. And then you watch what happens in this play and that embrace is fractured. Like Cookie, we, too, become disenchanted. No story can account for such vicious, social failures, especially when the prophets of the village, good and bad, are all false.\u003c/p>\n\u003cp>This is the last production of Ubuntu’s “Season of Displacement,” and it takes place in a Baptist church in one of the few corners of Oakland not quite yet touched by gentrification. We’re watching a show about Memphis and the destruction of a community where many, many people suffered. In Oakland, many, many people are suffering today. “These project walls will crumble to the ground, and the tears and bloodshed will soon be forgotten,” Cookie tells us at the end of the play. Has she become a prophet or a realist? Hall hesitates to answer. But if we listen carefully enough, we can certainly hear the screams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Hurt Village\u003c/em> plays through Sunday, Jul. 31 at the Grace Temple Church in Oakland. For tickets and information please click \u003ca href=\"http://ubuntutheaterproject.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hollywood voice double Marni Nixon, whose singing was heard in place of the leading actresses in such classic movie musicals as \u003cem>West Side Story\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>My Fair Lady\u003c/em>, has died. She was 86.\u003c/p>\n\u003cp>Michael Kirsten, senior vice president of Nixon’s talent agency, Harden-Curtis Associates, said she died Sunday of cancer in New York. “She passed away peacefully with her family at her side,” he said.\u003c/p>\n\u003cp>Nixon, who was initially uncredited for her work, early on resented the dubbing work but later came to terms with it. “I realized now that this was something that would outlive me. Something that would last,” she wrote in her 2006 memoir, \u003cem>I Could Have Sung All Night\u003c/em>.\u003c/p>\n\u003cp>In the heyday of the Hollywood musical, studios often paid big money for film rights to hit Broadway shows, then cast them with popular non-singing actors and actresses.\u003c/p>\n\u003cp>Such was the case with the 1956 hit \u003cem>The King and I\u003c/em>, in which filmmakers dubbed Deborah Kerr’s voice with Nixon’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was brought in and had to follow along with her, getting her diction and acting style,” Nixon recalled in 2004. “She in turn would study how I looked when I hit the high notes.”\u003c/p>\n\u003cp>Nixon did the same for Natalie Wood in 1961’s \u003cem>West Side Story\u003c/em> and Audrey Hepburn in 1964’s \u003cem>My Fair Lady\u003c/em>, which had starred Julie Andrews onstage. Earlier, she added a few notes to Marilyn Monroe’s \u003cem>Diamonds Are a Girl’s Best Friend\u003c/em>, from \u003cem>Gentlemen Prefer Blondes\u003c/em>.\u003c/p>\n\u003cp>She went uncredited in the films and on their soundtrack albums and was warned by the filmmakers that if she ever let it be known that she was doing the singing, “they would run me out of town.”\u003c/p>\n\u003cp>Word began to leak out, however, and Kerr herself blew Nixon’s cover when she praised her work on \u003cem>The King and I\u003c/em>. By the late 1960s, The Hollywood Reporter was joking that “they found out who was doing (talking horse) Mr. Ed’s voice on the television show; it was Marni Nixon’s horse.”\u003c/p>\n\u003cp>Nixon also appeared before the cameras in 1965, in a small role as a nun in \u003cem>The Sound of Music\u003c/em>, and provided the singing voice of Grandmother Fa in the 1998 animated film \u003cem>Mulan\u003c/em>.\u003c/p>\n\u003cp>As the era of big, traditional movie musicals dried up, though, so did Nixon’s film career. But she kept busy with other work, including starring in her own children’s TV show, singing opera, soloing with symphony orchestras, appearing in a road tour of \u003cem>Cabaret\u003c/em> and teaching at the California Institute of the Arts.\u003c/p>\n\u003cp>In her later years, she was also popular at nostalgia festivals, where she told audiences, “I allowed all these actresses to dub their bodies to my voice.”\u003c/p>\n\u003cp>She had landed her role in \u003cem>West Side Story\u003c/em> after Wood’s voice proved inadequate for the challenging Leonard Bernstein score. She prepared for it by studying Wood singing the role of Maria before the cameras — and had to then face the exacting task of getting her singing to match Wood’s on-screen lip movements.\u003c/p>\n\u003cp>Hepburn, who had memorably sung “Moon River” in \u003cem>Breakfast at Tiffany’s\u003c/em>, had campaigned to do her own singing as Eliza Doolittle in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>She was able to handle the film’s early cockney-accented songs like “Wouldn’t It Be Loverly,” but Nixon — again carefully matching Hepburn’s vocal style — had to be called in for such soaring melodies as “I Could Have Danced All Night.”\u003c/p>\n\u003cp>Both Wood and Hepburn, Nixon wrote, worked hard to learn the songs, and their singing was recorded in hopes that Nixon’s voice would be needed only to fill in on difficult passages. But that was not to be.\u003c/p>\n\u003cp>“I heard later that Natalie Wood was very upset and felt betrayed by the powers that be,” Nixon wrote. As for Hepburn, “determined as she was, her vocals were not used.”\u003c/p>\n\u003cp>Nixon recalled that after getting no royalties from the big-selling \u003cem>The King and I\u003c/em> soundtrack album, she and her manager fought for better treatment for \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>After some haggling, she wrote, Bernstein made the “incredibly generous gesture” of giving up a sliver of his royalty share. It amounted to a major payday for her, given the album’s huge sales.\u003c/p>\n\u003cp>She recalled she also had a small credit as “soprano soloist” — but no royalty — on the soundtrack recording of Kerr’s 1957 \u003cem>An Affair to Remember\u003c/em>. The film isn’t a musical, but Kerr’s character is a nightclub singer.\u003c/p>\n\u003cp>Nixon was born Margaret Nixon McEathron in 1930 in Altadena, Calif. The nickname Marni came from the first letters of her first and middle names.\u003c/p>\n\u003cp>She took up the violin as a child and later studied voice. Her first dubbing job was for young Margaret O’Brien in the 1949 film \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>Onstage, she made her Broadway debut in 1954 in \u003cem>The Girl in Pink Tights\u003c/em>, and was in the 2001 revival of \u003cem>Follies\u003c/em> and the 2003 revival of \u003cem>Nine\u003c/em>. She toured with \u003cem>My Fair Lady\u003c/em> in 2007.\u003c/p>\n\u003cp>Nixon was married to film composer-conductor Ernest Gold, Oscar winner for \u003cem>Exodus\u003c/em>, from 1950 to 1969. A second marriage, to Dr. Lajos Fenster, in 1971 also ended in divorce. Nixon married flutist Albert Block in 1983.\u003c/p>\n\u003cp>Her son, Andrew Gold, was a rock musician who arranged music for Linda Ronstadt and had a top 10 hit in 1977 with “Lonely Boy.” He died in 2011. She also had two daughters with her first husband, Martha and Melani.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Biographical material in this story was written by The Associated Press’ late Hollywood correspondent Bob Thomas.\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>Hollywood voice double Marni Nixon, whose singing was heard in place of the leading actresses in such classic movie musicals as \u003cem>West Side Story\u003c/em>, \u003cem>The King and I\u003c/em> and \u003cem>My Fair Lady\u003c/em>, has died. She was 86.\u003c/p>\n\u003cp>Michael Kirsten, senior vice president of Nixon’s talent agency, Harden-Curtis Associates, said she died Sunday of cancer in New York. “She passed away peacefully with her family at her side,” he said.\u003c/p>\n\u003cp>Nixon, who was initially uncredited for her work, early on resented the dubbing work but later came to terms with it. “I realized now that this was something that would outlive me. Something that would last,” she wrote in her 2006 memoir, \u003cem>I Could Have Sung All Night\u003c/em>.\u003c/p>\n\u003cp>In the heyday of the Hollywood musical, studios often paid big money for film rights to hit Broadway shows, then cast them with popular non-singing actors and actresses.\u003c/p>\n\u003cp>Such was the case with the 1956 hit \u003cem>The King and I\u003c/em>, in which filmmakers dubbed Deborah Kerr’s voice with Nixon’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was brought in and had to follow along with her, getting her diction and acting style,” Nixon recalled in 2004. “She in turn would study how I looked when I hit the high notes.”\u003c/p>\n\u003cp>Nixon did the same for Natalie Wood in 1961’s \u003cem>West Side Story\u003c/em> and Audrey Hepburn in 1964’s \u003cem>My Fair Lady\u003c/em>, which had starred Julie Andrews onstage. Earlier, she added a few notes to Marilyn Monroe’s \u003cem>Diamonds Are a Girl’s Best Friend\u003c/em>, from \u003cem>Gentlemen Prefer Blondes\u003c/em>.\u003c/p>\n\u003cp>She went uncredited in the films and on their soundtrack albums and was warned by the filmmakers that if she ever let it be known that she was doing the singing, “they would run me out of town.”\u003c/p>\n\u003cp>Word began to leak out, however, and Kerr herself blew Nixon’s cover when she praised her work on \u003cem>The King and I\u003c/em>. By the late 1960s, The Hollywood Reporter was joking that “they found out who was doing (talking horse) Mr. Ed’s voice on the television show; it was Marni Nixon’s horse.”\u003c/p>\n\u003cp>Nixon also appeared before the cameras in 1965, in a small role as a nun in \u003cem>The Sound of Music\u003c/em>, and provided the singing voice of Grandmother Fa in the 1998 animated film \u003cem>Mulan\u003c/em>.\u003c/p>\n\u003cp>As the era of big, traditional movie musicals dried up, though, so did Nixon’s film career. But she kept busy with other work, including starring in her own children’s TV show, singing opera, soloing with symphony orchestras, appearing in a road tour of \u003cem>Cabaret\u003c/em> and teaching at the California Institute of the Arts.\u003c/p>\n\u003cp>In her later years, she was also popular at nostalgia festivals, where she told audiences, “I allowed all these actresses to dub their bodies to my voice.”\u003c/p>\n\u003cp>She had landed her role in \u003cem>West Side Story\u003c/em> after Wood’s voice proved inadequate for the challenging Leonard Bernstein score. She prepared for it by studying Wood singing the role of Maria before the cameras — and had to then face the exacting task of getting her singing to match Wood’s on-screen lip movements.\u003c/p>\n\u003cp>Hepburn, who had memorably sung “Moon River” in \u003cem>Breakfast at Tiffany’s\u003c/em>, had campaigned to do her own singing as Eliza Doolittle in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>She was able to handle the film’s early cockney-accented songs like “Wouldn’t It Be Loverly,” but Nixon — again carefully matching Hepburn’s vocal style — had to be called in for such soaring melodies as “I Could Have Danced All Night.”\u003c/p>\n\u003cp>Both Wood and Hepburn, Nixon wrote, worked hard to learn the songs, and their singing was recorded in hopes that Nixon’s voice would be needed only to fill in on difficult passages. But that was not to be.\u003c/p>\n\u003cp>“I heard later that Natalie Wood was very upset and felt betrayed by the powers that be,” Nixon wrote. As for Hepburn, “determined as she was, her vocals were not used.”\u003c/p>\n\u003cp>Nixon recalled that after getting no royalties from the big-selling \u003cem>The King and I\u003c/em> soundtrack album, she and her manager fought for better treatment for \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>After some haggling, she wrote, Bernstein made the “incredibly generous gesture” of giving up a sliver of his royalty share. It amounted to a major payday for her, given the album’s huge sales.\u003c/p>\n\u003cp>She recalled she also had a small credit as “soprano soloist” — but no royalty — on the soundtrack recording of Kerr’s 1957 \u003cem>An Affair to Remember\u003c/em>. The film isn’t a musical, but Kerr’s character is a nightclub singer.\u003c/p>\n\u003cp>Nixon was born Margaret Nixon McEathron in 1930 in Altadena, Calif. The nickname Marni came from the first letters of her first and middle names.\u003c/p>\n\u003cp>She took up the violin as a child and later studied voice. Her first dubbing job was for young Margaret O’Brien in the 1949 film \u003cem>The Secret Garden\u003c/em>.\u003c/p>\n\u003cp>Onstage, she made her Broadway debut in 1954 in \u003cem>The Girl in Pink Tights\u003c/em>, and was in the 2001 revival of \u003cem>Follies\u003c/em> and the 2003 revival of \u003cem>Nine\u003c/em>. She toured with \u003cem>My Fair Lady\u003c/em> in 2007.\u003c/p>\n\u003cp>Nixon was married to film composer-conductor Ernest Gold, Oscar winner for \u003cem>Exodus\u003c/em>, from 1950 to 1969. A second marriage, to Dr. Lajos Fenster, in 1971 also ended in divorce. Nixon married flutist Albert Block in 1983.\u003c/p>\n\u003cp>Her son, Andrew Gold, was a rock musician who arranged music for Linda Ronstadt and had a top 10 hit in 1977 with “Lonely Boy.” He died in 2011. She also had two daughters with her first husband, Martha and Melani.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Biographical material in this story was written by The Associated Press’ late Hollywood correspondent Bob Thomas.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: The Russians are Coming, Speaking to Angels, and Pottermania",
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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>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160722.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=vDIPDVw7tTU\u003c/p>\n\u003cp>\u003cstrong>July 22, Aug. 12 & 13\u003c/strong>: Though she’s not as big as the fictional Harry Potter, \u003ca href=\"http://gracepotter.com/\" target=\"_blank\" rel=\"noopener\">Grace Potter \u003c/a> deserves some of the same mania the boy wizard gets for the way she and her band the Nocturnals have made roots-rock both polished and loose enough to be commercial as well as really good. She’s touring now with some of her old band mates, behind \u003cem>Midnight\u003c/em>, her new solo album made with help from producer Eric Valentine. She says she wants her new work to show “growth and change and experimentation.” But it’s her musicianship (watch her play guitar and piano in the video above), and her graceful-yet-powerful voice that makes it all work. Potter is doing a trio of Northern California and Nevada shows at some pretty slick venues: Look for details for her concert at Somo Village \u003ca href=\"http://www.somoconcerts.com/upcoming\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at the Crystal Bay Club \u003ca href=\"http://devildogshows.com/fri-aug-12th-2016-grace-potter-w-tba-after-party-w-the-nightowls-in-the-crystal-bay-club-casino-crown-room-on-sale-june-10th/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and at Mountain Winery \u003ca href=\"http://www.axs.com/events/309139/grace-potter-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3XfvILESXX4\u003c/p>\n\u003cp>\u003cstrong>July 28-31\u003c/strong>: \u003cem>Speak Angels\u003c/em> is a brand new evening-length dance work by \u003ca href=\"http://garrettmoulton.org/\" target=\"_blank\" rel=\"noopener\">Janice Garrett and Charles Moulton\u003c/a> that features 24 dancers, and a troupe of musicians and singers. In past shows, Garrett and Moulton have proved they know how to shape wonderful stories out of these big productions. \u003cem>Speak Angels\u003c/em>, they say, is a dance on the way “sudden, unforeseen moments of illumination” provide guidance and support at key moments of our lives. Details are \u003ca href=\"https://www.ybca.org/whats-on/speak-angels\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hAH7JImhmBw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 6\u003c/strong>: \u003ca href=\"http://www.musicatmenlo.org/\" target=\"_blank\" rel=\"noopener\">Music at Menlo\u003c/a> is a Bay Area treasure and a reminder that some of the best Classical and modern music is written not for orchestra, but for small ensembles. This year, co-Founders and artistic directors Wu Han (piano) and David Finckel (cello) are presenting a feast of Russian composers from Rachmaninoff and Mussorgski to Shostakovich and Prokofiev with performances by the \u003ca href=\"http://calidorestringquartet.com/\" target=\"_blank\" rel=\"noopener\">Calidore String Quartet\u003c/a>, Matthew Lipman, Alexander Sitkovetsky, Gloria Chien and more, plus master classes. Best of all, the concerts are in small rooms perfect for the intimacy of chamber music. Details \u003ca href=\"http://www.musicatmenlo.org/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rjz8vVH6xVU\u003c/p>\n\u003cp>\u003cstrong>Aug. 26-27\u003c/strong>: Woodsist is a little festival in the Redwoods with a big lineup and now in its 7th year on the Big Sur coast. It’s a celebration of psych folk and indie with Jonathan Richman, Steve Gunn, White Fence, Jessica Pratt, Michael Hurley, Kevin Morby, Cian Nugent, Little Wings, and more in a setting that can’t be beat. Details \u003ca href=\"http://www.woodsist.com/catalog/available/woodsist-festival-2016-big-sur-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11841606 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg\" alt=\"'The Gathering' by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1180x700.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1920x1139.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-960x569.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gathering’ by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw \u003ccite>(Photo: David Allen Studio/Live Oak Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 22-Aug. 20\u003c/strong>: \u003ca href=\"http://www.liveoaktheater.org/\" target=\"_blank\" rel=\"noopener\">Berkeley’s Live Oak Theater\u003c/a> is reviving \u003cem>The Gathering\u003c/em> by Arje Shaw, a show about an American family wrestling with the legacy of the Holocaust. Dad is a speechwriter for President Reagan in 1985, just as the Gipper is about to visit Bitberg Cemetery, where SS soldiers are buried. Grandpa is a holocaust survivor who insists his son stop this travesty of history. And between them is the grandson, who the grandfather drags off to Germany in protest. The prolific and terrific \u003ca href=\"http://www.mercurynews.com/entertainment/ci_29618942/theater-profile-invincible-joy-carlin\" target=\"_blank\" rel=\"noopener\">Joy Carlin\u003c/a> directs and in a very-Berkeley update, the Jewish family is bi-racial. Shaw himself plays the grandpa, and actor Kahlil Leneus plays the grandson, a role originated by a young Jesse Eisenberg in 1999. Details \u003ca href=\"http://www.liveoaktheater.org/event/c9ab7dee2e6d9eeef1422cfe4d447de5\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through July 31\u003c/strong>: You have one more week to catch one of the best plays of the year, August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes. Aldo Billingslea and Margo Hall lead a terrific cast in this show, directed by Raelle Myrick-Hodges, about a garbage truck driver and his family in Pittsburgh (PA) in the 1950’s. Details \u003ca href=\"http://www.calshakes.org/v4/ourplays/2016/2016_fences.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g_gPdGgbrNg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 22 – July 24\u003c/strong>: The J-Pop Summit is a balanced diet of Japanese popular culture, celebrating the country’s music (including Wednesday Campanella, who’s in the video above), anime, manga, Japanese film, plus a Sake tasting, a ramen noodle summit, fashion and cosplay show, and this year will include the festival’s first ever drag contest. The festival outgrew its old home in S.F.’s Japantown, and now is at Fort Mason. Mika Anami is one of the organizers. “It’s a totally different culture,” she told me, “even though there’s a lot that we see in common. So we want to intrigue people enough that one day they eventually decide they want to go visit Japan.” Hope they’re paying for the ticket. Details \u003ca href=\"http://www.j-pop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Picks: The Russians are Coming, Speaking to Angels, and Pottermania | KQED",
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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>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160722.mp3\u003cbr>\n\u003c/p>\u003c/aside>\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/vDIPDVw7tTU'\n title='//www.youtube.com/embed/vDIPDVw7tTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 22, Aug. 12 & 13\u003c/strong>: Though she’s not as big as the fictional Harry Potter, \u003ca href=\"http://gracepotter.com/\" target=\"_blank\" rel=\"noopener\">Grace Potter \u003c/a> deserves some of the same mania the boy wizard gets for the way she and her band the Nocturnals have made roots-rock both polished and loose enough to be commercial as well as really good. She’s touring now with some of her old band mates, behind \u003cem>Midnight\u003c/em>, her new solo album made with help from producer Eric Valentine. She says she wants her new work to show “growth and change and experimentation.” But it’s her musicianship (watch her play guitar and piano in the video above), and her graceful-yet-powerful voice that makes it all work. Potter is doing a trio of Northern California and Nevada shows at some pretty slick venues: Look for details for her concert at Somo Village \u003ca href=\"http://www.somoconcerts.com/upcoming\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at the Crystal Bay Club \u003ca href=\"http://devildogshows.com/fri-aug-12th-2016-grace-potter-w-tba-after-party-w-the-nightowls-in-the-crystal-bay-club-casino-crown-room-on-sale-june-10th/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and at Mountain Winery \u003ca href=\"http://www.axs.com/events/309139/grace-potter-tickets?skin=mountainwinery\" 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/3XfvILESXX4'\n title='//www.youtube.com/embed/3XfvILESXX4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 28-31\u003c/strong>: \u003cem>Speak Angels\u003c/em> is a brand new evening-length dance work by \u003ca href=\"http://garrettmoulton.org/\" target=\"_blank\" rel=\"noopener\">Janice Garrett and Charles Moulton\u003c/a> that features 24 dancers, and a troupe of musicians and singers. In past shows, Garrett and Moulton have proved they know how to shape wonderful stories out of these big productions. \u003cem>Speak Angels\u003c/em>, they say, is a dance on the way “sudden, unforeseen moments of illumination” provide guidance and support at key moments of our lives. Details are \u003ca href=\"https://www.ybca.org/whats-on/speak-angels\" 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/hAH7JImhmBw'\n title='//www.youtube.com/embed/hAH7JImhmBw'\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>Continuing through Aug. 6\u003c/strong>: \u003ca href=\"http://www.musicatmenlo.org/\" target=\"_blank\" rel=\"noopener\">Music at Menlo\u003c/a> is a Bay Area treasure and a reminder that some of the best Classical and modern music is written not for orchestra, but for small ensembles. This year, co-Founders and artistic directors Wu Han (piano) and David Finckel (cello) are presenting a feast of Russian composers from Rachmaninoff and Mussorgski to Shostakovich and Prokofiev with performances by the \u003ca href=\"http://calidorestringquartet.com/\" target=\"_blank\" rel=\"noopener\">Calidore String Quartet\u003c/a>, Matthew Lipman, Alexander Sitkovetsky, Gloria Chien and more, plus master classes. Best of all, the concerts are in small rooms perfect for the intimacy of chamber music. Details \u003ca href=\"http://www.musicatmenlo.org/calendar/\" 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/rjz8vVH6xVU'\n title='//www.youtube.com/embed/rjz8vVH6xVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 26-27\u003c/strong>: Woodsist is a little festival in the Redwoods with a big lineup and now in its 7th year on the Big Sur coast. It’s a celebration of psych folk and indie with Jonathan Richman, Steve Gunn, White Fence, Jessica Pratt, Michael Hurley, Kevin Morby, Cian Nugent, Little Wings, and more in a setting that can’t be beat. Details \u003ca href=\"http://www.woodsist.com/catalog/available/woodsist-festival-2016-big-sur-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11841606 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg\" alt=\"'The Gathering' by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1180x700.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1920x1139.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-960x569.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gathering’ by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw \u003ccite>(Photo: David Allen Studio/Live Oak Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 22-Aug. 20\u003c/strong>: \u003ca href=\"http://www.liveoaktheater.org/\" target=\"_blank\" rel=\"noopener\">Berkeley’s Live Oak Theater\u003c/a> is reviving \u003cem>The Gathering\u003c/em> by Arje Shaw, a show about an American family wrestling with the legacy of the Holocaust. Dad is a speechwriter for President Reagan in 1985, just as the Gipper is about to visit Bitberg Cemetery, where SS soldiers are buried. Grandpa is a holocaust survivor who insists his son stop this travesty of history. And between them is the grandson, who the grandfather drags off to Germany in protest. The prolific and terrific \u003ca href=\"http://www.mercurynews.com/entertainment/ci_29618942/theater-profile-invincible-joy-carlin\" target=\"_blank\" rel=\"noopener\">Joy Carlin\u003c/a> directs and in a very-Berkeley update, the Jewish family is bi-racial. Shaw himself plays the grandpa, and actor Kahlil Leneus plays the grandson, a role originated by a young Jesse Eisenberg in 1999. Details \u003ca href=\"http://www.liveoaktheater.org/event/c9ab7dee2e6d9eeef1422cfe4d447de5\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through July 31\u003c/strong>: You have one more week to catch one of the best plays of the year, August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes. Aldo Billingslea and Margo Hall lead a terrific cast in this show, directed by Raelle Myrick-Hodges, about a garbage truck driver and his family in Pittsburgh (PA) in the 1950’s. Details \u003ca href=\"http://www.calshakes.org/v4/ourplays/2016/2016_fences.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g_gPdGgbrNg'\n title='//www.youtube.com/embed/g_gPdGgbrNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 22 – July 24\u003c/strong>: The J-Pop Summit is a balanced diet of Japanese popular culture, celebrating the country’s music (including Wednesday Campanella, who’s in the video above), anime, manga, Japanese film, plus a Sake tasting, a ramen noodle summit, fashion and cosplay show, and this year will include the festival’s first ever drag contest. The festival outgrew its old home in S.F.’s Japantown, and now is at Fort Mason. Mika Anami is one of the organizers. “It’s a totally different culture,” she told me, “even though there’s a lot that we see in common. So we want to intrigue people enough that one day they eventually decide they want to go visit Japan.” Hope they’re paying for the ticket. Details \u003ca href=\"http://www.j-pop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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