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"content": "\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vireo: The Spiritual Biography of a Witch's Accuser | Artbound | Season 6, Episode 6 | KCET\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4bRxIpgdj6w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vireo: The Spiritual Biography of a Witch's Accuser | Artbound | Season 6, Episode 6 | KCET\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4bRxIpgdj6w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-losing-our-hearts-to-a-big-thief-blowing-up-the-fourth-and-talking-to-mistah-f-a-b",
"title": "Cy and David's Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B.",
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"headTitle": "Cy and David’s Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B. | KQED",
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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//2016/06/TDL20160701.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=oacUgWXrqwc\u003c/p>\n\u003cp>\u003cstrong>July 5:\u003c/strong> The indie band Big Thief apparently tours with one of the band members’ dogs (see the video above), which would be unbearably twee if they weren’t also playing such smart songs about love and loss, all written by vocalist Adrianne Lenker. I’m a sucker for this from their new album and song “Masterpiece,” with features lyrics like, “This place smells like piss and beer, can you get me out,” reminding me of a lot of sadly wasted evenings. They rock and then they slow down just as nicely for ballads like “Velvet Ring,” featuring just Lenker and her acoustic guitar. Details on their \u003cstrong>Cheap Thrill\u003c/strong> of a show at the Rickshaw Stop \u003ca href=\"http://www.rickshawstop.com/event/1204557-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4c-lIkZ9HRc\u003c/p>\n\u003cp>\u003cstrong>July 1 – Aug. 14\u003c/strong>: John Leguizamo apparently likes Berkeley Rep as a place to work the kinks out of his one-man shows about growing up in Queens and becoming a movie actor (\u003cem>Chef\u003c/em>, \u003cem>Ice Age\u003c/em>, \u003cem>American Ultra\u003c/em>). He workshopped his 2011 Broadway hit \u003cem>Ghetto Klown\u003c/em> at the Rep, and developed his new show, \u003cem>Latin History for Morons,\u003c/em> (a co-production with the Public Theater) in the Rep’s Ground Floor program. Berkeley Rep Artistic Director Tony Taccone directed both. In \u003cem>Latin History…\u003c/em>, he’s a dad trying to teach his young son the truth about Latino history, after seeing what a bad job the schools are doing. Expect a few scenes that need some polishing, and others that will have you laughing hysterically. Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11755002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755002\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg\" alt=\"2016 Merola participants\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2016 Merola participants \u003ccite>(Photo: Kristen Loken/Merola Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 7 & 9\u003c/strong>: The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program\u003c/a> is where great young singers go to polish their craft for an art form that somehow survives in this age of short attention span music. Merola’s new class of 23 singers (with help from their colleagues studying to be music coaches and stage directors) will be performing excerpts from \u003cem>Serse\u003c/em> by Handel, \u003cem>The Rake’s Progress\u003c/em> by Stravinsky, \u003cem>Arabella,\u003c/em> by Strauss, and \u003cem>Dialogues of the Carmelites\u003c/em> by Poulenc and more next week in the Schwabacher Summer Concert. Details are \u003ca href=\"http://merola.org/publicperformances\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=drzmETZGEt4\u003c/p>\n\u003cp>\u003cstrong>July 1\u003c/strong>: We can’t resist a shoutout to the final performance of Janáček’s \u003cem>Jenufa \u003c/em>with the brilliant Karita Mattila (see the scene above). This is one of the finest productions of this or any season.\u003c/p>\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11607625 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg\" alt=\"SF Opera's Carmen\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1920x1380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-960x690.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 2\u003c/strong>: And the opera is free (\u003cstrong>CHEAP THRILL\u003c/strong>) in the simulcast on the big screen at AT&T Park of the company’s Eurotrashy (in a good way) and well sung \u003cem>Carmen\u003c/em> on Saturday. You do need to register. Details are \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11757329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png\" alt=\"Independence Day at the Craneway Pavilion with the Oakland Symphony\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-400x250.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Independence Day at the Craneway Pavilion with the Oakland Symphony \u003ccite>(Photo: Courtesy of Craneway Pavilion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4\u003c/strong>: The first rule of the Fourth of July is don’t blow off your fingers. The second rule is find a comfortable spot to lie back, and “ooh” and “aah” as you watch the fireworks. Below are a few suggestions for celebrating America’s birthday:\u003c/p>\n\u003cfigure id=\"attachment_11755104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg\" alt=\"The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond's Craneway Pavilion\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond’s Craneway Pavilion \u003ccite>(Photo: Courtesy Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3:\u003c/strong> Get a jump on Independence Day with the Oakland Symphony’s Sunday concert with Michael Morgan conducting at the Craneway Pavilion in Richmond. It’s another \u003cstrong>CHEAP THRILL\u003c/strong> — tickets are free, details \u003ca href=\"http://www.oaklandsymphony.org/event/independence-eve-celebration/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or spend a free (\u003cstrong>CHEAP THRILL\u003c/strong>) afternoon and evening at the \u003ca href=\"http://www.ci.berkeley.ca.us/Marina_Home/\" target=\"_blank\" rel=\"noopener\">Berkeley Marina\u003c/a>, where Tito y Su Son de Cuba, The Rusty String Express, the United States Air Force Band of the Golden West and others entertain the adults, while the kids enjoy magicians, balloon twisters and free dragon boat rides. Plus, yes, fireworks. Details \u003ca href=\"http://www.anotherbullwinkelshow.com/4th-of-july/4th-entertainment.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=isP8pNby39A\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: The Center for Performing Arts Plaza in San Jose is presenting a “Big Bang Concert” featuring 80’s rocker \u003ca href=\"https://www.bryanadams.com/\" target=\"_blank\" rel=\"noopener\">Bryan Adams\u003c/a> (he released an album last fall) and fireworks. Details \u003ca href=\"https://www.eventbrite.com/e/big-bang-concert-tickets-25655438106\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757378\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg\" alt=\"Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony\" width=\"793\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1920x1452.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony \u003ccite>(Photo: Larry Williamson/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or head to Mountain View on Monday for a July Fourth “spectacular” at \u003ca href=\"http://shoreline.amphitheatermtnview.com/?gclid=COj8wpqp0M0CFRRgfgod6jQNzQ\" target=\"_blank\" rel=\"noopener\">Shoreline Amphitheater\u003c/a> with the San Francisco Symphony doing “A Night At The Movies,” with music from \u003cem>Inside Out\u003c/em>, \u003cem>Star Wars\u003c/em>, \u003cem>E.T.\u003c/em>, Raiders of the Lost Ark, and of course, fireworks (noticing a theme here?). Details \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/4th-of-July-Fireworks-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757541\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11757541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg\" alt=\"Fireworks at the Green Music Center at Sonoma State in Rohnert Park\" width=\"630\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks at the Green Music Center at Sonoma State in Rohnert Park \u003ccite>(Photo: Courtesy of Green Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: And North Bay residents can head to the \u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> in Rohnert Park, where vocalist Steve Tyrell and the Santa Rosa Symphony play American songbook favorites with fireworks on the lawn to finish. Details \u003ca href=\"http://gmc.sonoma.edu/event/3122011-4th-of-july-fireworks-spectacular-with\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D9vaoIH__70\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>July 5\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Mistah_F.A.B.\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B\u003c/a>., the unofficial mayor of North Oakland, is on a roll with a concert on Tuesday and a new album, \u003cem>Son of a Pimp Part 2\u003c/em>, this one featuring his mom on the cover. His dad was on \u003cem>Son of a Pimp Part 1,\u003c/em> “So my mother and my father will be immortalized in portraits and be forever young,” he told me earlier this week.\u003ci> \u003c/i>The album is loaded with guest appearances (including Kendrick Lamar on “Survive”), and there’s a few high energy hyphy numbers, but Mistah F.A.B. told me he wanted the album to be about serious personal and social issues, because it’s too easy to do rhymes about material success. “Talk about your dark spots, and show people that there is light in that darkness, you just have to channel it. And that’s what I’ve been able to do with my music, channel light in the middle of my darkness,” he said during our interview (listen to it at the top of the page). Details of the concert at the Regency Ballroom in tribute to the late Mac Dre are \u003ca href=\"http://www.theregencyballroom.com/events/detail/311383\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"title": "Cy and David's Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B. | KQED",
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"headline": "Cy and David's Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B.",
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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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/oacUgWXrqwc'\n title='//www.youtube.com/embed/oacUgWXrqwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 5:\u003c/strong> The indie band Big Thief apparently tours with one of the band members’ dogs (see the video above), which would be unbearably twee if they weren’t also playing such smart songs about love and loss, all written by vocalist Adrianne Lenker. I’m a sucker for this from their new album and song “Masterpiece,” with features lyrics like, “This place smells like piss and beer, can you get me out,” reminding me of a lot of sadly wasted evenings. They rock and then they slow down just as nicely for ballads like “Velvet Ring,” featuring just Lenker and her acoustic guitar. Details on their \u003cstrong>Cheap Thrill\u003c/strong> of a show at the Rickshaw Stop \u003ca href=\"http://www.rickshawstop.com/event/1204557-big-thief-san-francisco/\" 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/4c-lIkZ9HRc'\n title='//www.youtube.com/embed/4c-lIkZ9HRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1 – Aug. 14\u003c/strong>: John Leguizamo apparently likes Berkeley Rep as a place to work the kinks out of his one-man shows about growing up in Queens and becoming a movie actor (\u003cem>Chef\u003c/em>, \u003cem>Ice Age\u003c/em>, \u003cem>American Ultra\u003c/em>). He workshopped his 2011 Broadway hit \u003cem>Ghetto Klown\u003c/em> at the Rep, and developed his new show, \u003cem>Latin History for Morons,\u003c/em> (a co-production with the Public Theater) in the Rep’s Ground Floor program. Berkeley Rep Artistic Director Tony Taccone directed both. In \u003cem>Latin History…\u003c/em>, he’s a dad trying to teach his young son the truth about Latino history, after seeing what a bad job the schools are doing. Expect a few scenes that need some polishing, and others that will have you laughing hysterically. Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11755002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755002\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg\" alt=\"2016 Merola participants\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2016 Merola participants \u003ccite>(Photo: Kristen Loken/Merola Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 7 & 9\u003c/strong>: The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program\u003c/a> is where great young singers go to polish their craft for an art form that somehow survives in this age of short attention span music. Merola’s new class of 23 singers (with help from their colleagues studying to be music coaches and stage directors) will be performing excerpts from \u003cem>Serse\u003c/em> by Handel, \u003cem>The Rake’s Progress\u003c/em> by Stravinsky, \u003cem>Arabella,\u003c/em> by Strauss, and \u003cem>Dialogues of the Carmelites\u003c/em> by Poulenc and more next week in the Schwabacher Summer Concert. Details are \u003ca href=\"http://merola.org/publicperformances\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/drzmETZGEt4'\n title='//www.youtube.com/embed/drzmETZGEt4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1\u003c/strong>: We can’t resist a shoutout to the final performance of Janáček’s \u003cem>Jenufa \u003c/em>with the brilliant Karita Mattila (see the scene above). This is one of the finest productions of this or any season.\u003c/p>\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11607625 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg\" alt=\"SF Opera's Carmen\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1920x1380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-960x690.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 2\u003c/strong>: And the opera is free (\u003cstrong>CHEAP THRILL\u003c/strong>) in the simulcast on the big screen at AT&T Park of the company’s Eurotrashy (in a good way) and well sung \u003cem>Carmen\u003c/em> on Saturday. You do need to register. Details are \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11757329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png\" alt=\"Independence Day at the Craneway Pavilion with the Oakland Symphony\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-400x250.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Independence Day at the Craneway Pavilion with the Oakland Symphony \u003ccite>(Photo: Courtesy of Craneway Pavilion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4\u003c/strong>: The first rule of the Fourth of July is don’t blow off your fingers. The second rule is find a comfortable spot to lie back, and “ooh” and “aah” as you watch the fireworks. Below are a few suggestions for celebrating America’s birthday:\u003c/p>\n\u003cfigure id=\"attachment_11755104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg\" alt=\"The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond's Craneway Pavilion\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond’s Craneway Pavilion \u003ccite>(Photo: Courtesy Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3:\u003c/strong> Get a jump on Independence Day with the Oakland Symphony’s Sunday concert with Michael Morgan conducting at the Craneway Pavilion in Richmond. It’s another \u003cstrong>CHEAP THRILL\u003c/strong> — tickets are free, details \u003ca href=\"http://www.oaklandsymphony.org/event/independence-eve-celebration/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or spend a free (\u003cstrong>CHEAP THRILL\u003c/strong>) afternoon and evening at the \u003ca href=\"http://www.ci.berkeley.ca.us/Marina_Home/\" target=\"_blank\" rel=\"noopener\">Berkeley Marina\u003c/a>, where Tito y Su Son de Cuba, The Rusty String Express, the United States Air Force Band of the Golden West and others entertain the adults, while the kids enjoy magicians, balloon twisters and free dragon boat rides. Plus, yes, fireworks. Details \u003ca href=\"http://www.anotherbullwinkelshow.com/4th-of-july/4th-entertainment.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/isP8pNby39A'\n title='//www.youtube.com/embed/isP8pNby39A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 4\u003c/strong>: The Center for Performing Arts Plaza in San Jose is presenting a “Big Bang Concert” featuring 80’s rocker \u003ca href=\"https://www.bryanadams.com/\" target=\"_blank\" rel=\"noopener\">Bryan Adams\u003c/a> (he released an album last fall) and fireworks. Details \u003ca href=\"https://www.eventbrite.com/e/big-bang-concert-tickets-25655438106\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757378\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg\" alt=\"Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony\" width=\"793\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1920x1452.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony \u003ccite>(Photo: Larry Williamson/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or head to Mountain View on Monday for a July Fourth “spectacular” at \u003ca href=\"http://shoreline.amphitheatermtnview.com/?gclid=COj8wpqp0M0CFRRgfgod6jQNzQ\" target=\"_blank\" rel=\"noopener\">Shoreline Amphitheater\u003c/a> with the San Francisco Symphony doing “A Night At The Movies,” with music from \u003cem>Inside Out\u003c/em>, \u003cem>Star Wars\u003c/em>, \u003cem>E.T.\u003c/em>, Raiders of the Lost Ark, and of course, fireworks (noticing a theme here?). Details \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/4th-of-July-Fireworks-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757541\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11757541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg\" alt=\"Fireworks at the Green Music Center at Sonoma State in Rohnert Park\" width=\"630\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks at the Green Music Center at Sonoma State in Rohnert Park \u003ccite>(Photo: Courtesy of Green Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: And North Bay residents can head to the \u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> in Rohnert Park, where vocalist Steve Tyrell and the Santa Rosa Symphony play American songbook favorites with fireworks on the lawn to finish. Details \u003ca href=\"http://gmc.sonoma.edu/event/3122011-4th-of-july-fireworks-spectacular-with\" 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/D9vaoIH__70'\n title='//www.youtube.com/embed/D9vaoIH__70'\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>July 5\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Mistah_F.A.B.\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B\u003c/a>., the unofficial mayor of North Oakland, is on a roll with a concert on Tuesday and a new album, \u003cem>Son of a Pimp Part 2\u003c/em>, this one featuring his mom on the cover. His dad was on \u003cem>Son of a Pimp Part 1,\u003c/em> “So my mother and my father will be immortalized in portraits and be forever young,” he told me earlier this week.\u003ci> \u003c/i>The album is loaded with guest appearances (including Kendrick Lamar on “Survive”), and there’s a few high energy hyphy numbers, but Mistah F.A.B. told me he wanted the album to be about serious personal and social issues, because it’s too easy to do rhymes about material success. “Talk about your dark spots, and show people that there is light in that darkness, you just have to channel it. And that’s what I’ve been able to do with my music, channel light in the middle of my darkness,” he said during our interview (listen to it at the top of the page). Details of the concert at the Regency Ballroom in tribute to the late Mac Dre are \u003ca href=\"http://www.theregencyballroom.com/events/detail/311383\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a performer and playwright, John Leguizamo builds characters defined by companionship. In close to 50 film roles, the Colombian-born, Queens, New York-raised actor has favored scene-stealers who are also valued members of a group, like self-described drag princess Chi-Chi Rodriguez in \u003cem>Too Wong Foo, Thanks for Everything Julie Newmar\u003c/em>, the French painter Henri de Toulouse-Lautrec in \u003cem>Moulin Rouge\u003c/em>, and Sid the Sloth in the \u003cem>Ice Age\u003c/em> animated feature franchise.\u003c/p>\n\u003cp>On stage, the actor’s solo shows — hilarious and gripping pieces like \u003cem>Mambo Mouth\u003c/em> and \u003cem>Spic-o-Rama\u003c/em> — are ensembles of one, where Leguizamo might play all the members of a dysfunctional family or himself and his own father within seconds of each other. “Those characters are all up there with me,” Leguizamo said over the phone from New York. “With my body, an inflection, an accent, I can cut between characters faster than a movie can.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Spic O Rama - All My Life\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/qHItifu95iU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The performer is currently in final rehearsals for his new theatrical piece, \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>John Leguizamo: Latin History for Morons\u003c/em>\u003c/a>. The solo show — his sixth to date — begins its world premiere run at Berkeley Repertory Theatre on Friday, Jul. 1. Directed by Berkeley Rep artistic director Tony Taccone, it’s a 90-minute blitz through the much-overlooked contributions of Latinos to U.S. history.\u003c/p>\n\u003cp>\u003cstrong>Reclaiming the past through a Latino lens\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look at our history; we were present,” Leguizamo said. “If 2,000 Latinos fought in the Civil War, how come that never came up in school? If 500,000 of us fought in World War II, how come not one World War II movie has a Latin character?” In the same vein as Howard Zinn’s seminal book \u003cem>A People’s History of the United States\u003c/em>, Leguizamo’s show is focused on telling a different version of the past — what the artist calls, “exposing an act of purposeful disinclusion.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Behind the scenes: John Leguizamo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/o1_jNrvWBGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Theater of self-education\u003c/strong>\u003c/p>\n\u003cp>The idea for the show came to Leguizamo a few years ago when he misinformed his teenaged son, who was working on a school paper at the time, that \u003cem>Quechuan\u003c/em> was the name of a Colombian Indian tribe. It’s actually an indigenous language. “I’m one of the morons I’m talking about,” Leguizamo said. “The piece spirals outward from me educating my son, me educating myself, me educating the audience.”\u003c/p>\n\u003cp>Of all of Leguizamo’s work to date, \u003cem>Latin History\u003c/em> has the most direct connection to \u003cem>Freak\u003c/em>. That solo show, conceived in 1998, centered on what the actor learned from his father and what he chose to leave behind. His new production serves as an insistent endorsement of self-education. “It’s the journey of a man — of being a son to being a father,” Leguizamo said.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Freak - Puberty\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/DFL6RKTeJk8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Leguizamo honed his skills in the basement theater spaces of 1980s Lower Manhattan. The actor returned to the underground scene for the first time in his long career only recently, when he tried out early versions of \u003cem>Latin History\u003c/em> in similarly cramped comedy clubs. “I really wanted to be tested by fire,” Leguizamo said. “The comedy club audience has no patience. I didn’t want to get past the point where if I performed it in high school, a high school kid would be bored.”\u003c/p>\n\u003cp>Leguizamo can be seen this July in the film \u003cem>The Infiltrator\u003c/em> starring Bryan Cranston and in Season Two of the Netflix series \u003cem>Bloodline\u003c/em>. And yet creatively, Leguizamo said he will always return to the theater. For one thing, it’s where he began as an artist. “I wanted to go dark and personal, use costumes and dance,” he said, describing how he strived to differentiate himself from the artists he looked up to early in his career, like Eric Bogosian, Whoopi Goldberg and Lily Tomlin. “Theater allowed you to do that. The smallness of the space means there weren’t as many controls or corporate hands in the mix.”\u003c/p>\n\u003cp>Leguizamo said the stage is still the place where creative revolutions take hold. “Theaters one of the great innovators of media,” Leguizamo said. “Look at Hamilton, color-blind casting. It took theater to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">John Leguizamo: Latin History for Morons\u003c/a> runs through Sunday, Aug. 14 at Berkeley Repertory Theatre, Berkeley. Find out more \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a performer and playwright, John Leguizamo builds characters defined by companionship. In close to 50 film roles, the Colombian-born, Queens, New York-raised actor has favored scene-stealers who are also valued members of a group, like self-described drag princess Chi-Chi Rodriguez in \u003cem>Too Wong Foo, Thanks for Everything Julie Newmar\u003c/em>, the French painter Henri de Toulouse-Lautrec in \u003cem>Moulin Rouge\u003c/em>, and Sid the Sloth in the \u003cem>Ice Age\u003c/em> animated feature franchise.\u003c/p>\n\u003cp>On stage, the actor’s solo shows — hilarious and gripping pieces like \u003cem>Mambo Mouth\u003c/em> and \u003cem>Spic-o-Rama\u003c/em> — are ensembles of one, where Leguizamo might play all the members of a dysfunctional family or himself and his own father within seconds of each other. “Those characters are all up there with me,” Leguizamo said over the phone from New York. “With my body, an inflection, an accent, I can cut between characters faster than a movie can.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Spic O Rama - All My Life\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/qHItifu95iU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The performer is currently in final rehearsals for his new theatrical piece, \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>John Leguizamo: Latin History for Morons\u003c/em>\u003c/a>. The solo show — his sixth to date — begins its world premiere run at Berkeley Repertory Theatre on Friday, Jul. 1. Directed by Berkeley Rep artistic director Tony Taccone, it’s a 90-minute blitz through the much-overlooked contributions of Latinos to U.S. history.\u003c/p>\n\u003cp>\u003cstrong>Reclaiming the past through a Latino lens\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look at our history; we were present,” Leguizamo said. “If 2,000 Latinos fought in the Civil War, how come that never came up in school? If 500,000 of us fought in World War II, how come not one World War II movie has a Latin character?” In the same vein as Howard Zinn’s seminal book \u003cem>A People’s History of the United States\u003c/em>, Leguizamo’s show is focused on telling a different version of the past — what the artist calls, “exposing an act of purposeful disinclusion.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Behind the scenes: John Leguizamo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/o1_jNrvWBGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Theater of self-education\u003c/strong>\u003c/p>\n\u003cp>The idea for the show came to Leguizamo a few years ago when he misinformed his teenaged son, who was working on a school paper at the time, that \u003cem>Quechuan\u003c/em> was the name of a Colombian Indian tribe. It’s actually an indigenous language. “I’m one of the morons I’m talking about,” Leguizamo said. “The piece spirals outward from me educating my son, me educating myself, me educating the audience.”\u003c/p>\n\u003cp>Of all of Leguizamo’s work to date, \u003cem>Latin History\u003c/em> has the most direct connection to \u003cem>Freak\u003c/em>. That solo show, conceived in 1998, centered on what the actor learned from his father and what he chose to leave behind. His new production serves as an insistent endorsement of self-education. “It’s the journey of a man — of being a son to being a father,” Leguizamo said.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Freak - Puberty\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/DFL6RKTeJk8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Leguizamo honed his skills in the basement theater spaces of 1980s Lower Manhattan. The actor returned to the underground scene for the first time in his long career only recently, when he tried out early versions of \u003cem>Latin History\u003c/em> in similarly cramped comedy clubs. “I really wanted to be tested by fire,” Leguizamo said. “The comedy club audience has no patience. I didn’t want to get past the point where if I performed it in high school, a high school kid would be bored.”\u003c/p>\n\u003cp>Leguizamo can be seen this July in the film \u003cem>The Infiltrator\u003c/em> starring Bryan Cranston and in Season Two of the Netflix series \u003cem>Bloodline\u003c/em>. And yet creatively, Leguizamo said he will always return to the theater. For one thing, it’s where he began as an artist. “I wanted to go dark and personal, use costumes and dance,” he said, describing how he strived to differentiate himself from the artists he looked up to early in his career, like Eric Bogosian, Whoopi Goldberg and Lily Tomlin. “Theater allowed you to do that. The smallness of the space means there weren’t as many controls or corporate hands in the mix.”\u003c/p>\n\u003cp>Leguizamo said the stage is still the place where creative revolutions take hold. “Theaters one of the great innovators of media,” Leguizamo said. “Look at Hamilton, color-blind casting. It took theater to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">John Leguizamo: Latin History for Morons\u003c/a> runs through Sunday, Aug. 14 at Berkeley Repertory Theatre, Berkeley. Find out more \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\nKQED’s Suzie Racho and David Wiegand share their picks for great events around the Bay Area this week.\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2016/06/TDL20160624fixed.mp3\u003cbr>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=yJPw789HSwY\u003c/p>\n\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s summer, so we’re deep into festival season, and glad to see another Burger Boogaloo. The Boogaloo is Oakland’s annual garage rock and power pop party, put on by local promoter Marcos Ribak with help from Burger Records, a label out of Fullerton, Calif. (They’re also staging a fifth annual festival down in So Cal.) Burger Boogaloo has again snagged indie filmmaker (and renaissance man) John Waters as host of this celebration of underground music. Former locals Thee Oh Sees are back, along with garage rock pioneers like The Flamin’ Groovies and Psycotic Pineapple, plus the Trashwomen, The Mummies, Shannon and the Clams and more for two days at Oakland’s Mosswood Park. Details are \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11727174\" class=\"wp-caption aligncenter\" style=\"max-width: 385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11727174\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Historical-images-Peraltas-on-porch.jpg\" alt=\"The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District\" width=\"385\" height=\"272\">\u003cfigcaption class=\"wp-caption-text\">The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District \u003ccite>(Photo: Courtesy of Peralta Hacienda Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 25\u003c/strong>: For a more family friendly festival, check out Fruitvale First! A Latino culture festival at Peralta Hacienda Historical Park in Oakland’s Fruitvale neighborhood, featuring a dance contest, mariachis, tours of the museum, and (of course) great food. Fruitvale First! is also free, so it’s one of our Cheap Thrills, and details are \u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=1&pagecategory=1\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s1yr8w_vZ5E\u003c/p>\n\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s the biggest street party of the year in San Francisco. The 46th annual San Francisco Pride celebration and parade take over the city. The theme this year is “For Racial and Economic Justice,” and look for an equal focus on celebrating the lives of those who died in the Orlando dance club shooting. There’s entertainment from Peaches, Psychic TV, Hector Fonseca, CHEER San Francisco, HipHop4Change, plus a Queer Youth Space, Sundance Country-Western Dance Corral, and Tantra Trance if you need a meditative break, not to mention the big parade led by Dykes on Bikes on Sunday. Details on pride weekend are \u003ca href=\"http://www.sfpride.org/schedule/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ji-EdRtL9qU\u003c/p>\n\u003cp>\u003cstrong>June 29:\u003c/strong> And David wants to highlight a post parade show by Pwr Bttm, a two-piece punkish band of genderqueer people. In the past year they’ve gone from obscurity to performing an NPR Tiny Desk concert and having a critically lauded album that digs deep in queer themes. Details of their Wednesday show (opening for Pity Sex) at Slim’s are \u003ca href=\"http://www.slimspresents.com/event/pity-sex-slims/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2ug3IBfgOhs\u003c/p>\n\u003cp>\u003cstrong>June 26\u003c/strong>: Save some energy after Pride for the return of John Doe, the bass player and singer of the legendary Los Angeles punk band X, now on his tenth solo album. The \u003ca href=\"http://www.imdb.com/name/nm0230335/?ref_=nv_sr_2\" target=\"_blank\" rel=\"noopener\">actor\u003c/a>/musician has a new album out, \u003cem>The Westerner\u003c/em>, that he talked about with David this week. “This record was dedicated to a friend of mine who passed away in 2015, Michael Blake, who wrote the screenplay for \u003cem>Dances With Wolves\u003c/em>, but then it also became about the idea of a westerner, and luckily I was able to find images and take photographs that all kind of amplified or accented this idea of someone from the west.” Details on John Doe’s Sunday night show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/john-doe-his-rocknroll-band-gamh-w-special-guest-jesse-dayton/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11727400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727400\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg\" alt=\"'Hookers on Mars' playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-400x181.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-960x435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180.jpg 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hookers on Mars’ playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars \u003ccite>(Photo: Joan Osato/Campo Santo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 29 – July 10\u003c/strong>: Campo Santo is celebrating 20 years as an icon of Bay Area theater; a troupe making multi-ethnic theater with humane politics, and surviving despite its lack of a home theater. Their new play, in residency at ACT, offers a look to the future with \u003cem>Hookers on Mars Eventually\u003c/em> from San Francisco native Star Finch, and features a surround sound video design by Joan Osato, a scenic installation by Tanya Orellana, an original score by Tommy Soulati Shepherd, and direction by Campo Santo co-founder Sean San Jose. You’ll never be bored at a Campos Santo show. Details are \u003ca href=\"http://www.act-sf.org/home/box_office/special_events.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PN0RPWII7gY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 25:\u003c/strong> \u003ca href=\"http://www.andyshauf.com/\" target=\"_blank\" rel=\"noopener\">Andy Shauf \u003c/a>is a psychedelic-pop (is that obvious from the image above), singer-songwriter, and multi-instrumentalist from Saskatchewan celebrating the release of his new album, \u003cem>The Party.\u003c/em> It’s a lovely collection of stories of people-watching at all night bash, and makes you want to be there (but maybe not as the guy who shows up too early). Shauf is opening for the equally compelling headlining trio of \u003ca href=\"http://caselangveirs.com/\" target=\"_blank\" rel=\"noopener\">Neko Case, K.D. Lang, and Laura Veirs\u003c/a> at the Mountain Winery in Saratoga Saturday night. Details \u003ca href=\"http://www.axs.com/events/306777/case-lang-veirs-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\nKQED’s Suzie Racho and David Wiegand share their picks for great events around the Bay Area this week.\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2016/06/TDL20160624fixed.mp3\u003cbr>\n\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/yJPw789HSwY'\n title='//www.youtube.com/embed/yJPw789HSwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s summer, so we’re deep into festival season, and glad to see another Burger Boogaloo. The Boogaloo is Oakland’s annual garage rock and power pop party, put on by local promoter Marcos Ribak with help from Burger Records, a label out of Fullerton, Calif. (They’re also staging a fifth annual festival down in So Cal.) Burger Boogaloo has again snagged indie filmmaker (and renaissance man) John Waters as host of this celebration of underground music. Former locals Thee Oh Sees are back, along with garage rock pioneers like The Flamin’ Groovies and Psycotic Pineapple, plus the Trashwomen, The Mummies, Shannon and the Clams and more for two days at Oakland’s Mosswood Park. Details are \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11727174\" class=\"wp-caption aligncenter\" style=\"max-width: 385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11727174\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Historical-images-Peraltas-on-porch.jpg\" alt=\"The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District\" width=\"385\" height=\"272\">\u003cfigcaption class=\"wp-caption-text\">The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District \u003ccite>(Photo: Courtesy of Peralta Hacienda Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 25\u003c/strong>: For a more family friendly festival, check out Fruitvale First! A Latino culture festival at Peralta Hacienda Historical Park in Oakland’s Fruitvale neighborhood, featuring a dance contest, mariachis, tours of the museum, and (of course) great food. Fruitvale First! is also free, so it’s one of our Cheap Thrills, and details are \u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=1&pagecategory=1\" 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/s1yr8w_vZ5E'\n title='//www.youtube.com/embed/s1yr8w_vZ5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s the biggest street party of the year in San Francisco. The 46th annual San Francisco Pride celebration and parade take over the city. The theme this year is “For Racial and Economic Justice,” and look for an equal focus on celebrating the lives of those who died in the Orlando dance club shooting. There’s entertainment from Peaches, Psychic TV, Hector Fonseca, CHEER San Francisco, HipHop4Change, plus a Queer Youth Space, Sundance Country-Western Dance Corral, and Tantra Trance if you need a meditative break, not to mention the big parade led by Dykes on Bikes on Sunday. Details on pride weekend are \u003ca href=\"http://www.sfpride.org/schedule/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ji-EdRtL9qU'\n title='//www.youtube.com/embed/ji-EdRtL9qU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 29:\u003c/strong> And David wants to highlight a post parade show by Pwr Bttm, a two-piece punkish band of genderqueer people. In the past year they’ve gone from obscurity to performing an NPR Tiny Desk concert and having a critically lauded album that digs deep in queer themes. Details of their Wednesday show (opening for Pity Sex) at Slim’s are \u003ca href=\"http://www.slimspresents.com/event/pity-sex-slims/\" 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/2ug3IBfgOhs'\n title='//www.youtube.com/embed/2ug3IBfgOhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 26\u003c/strong>: Save some energy after Pride for the return of John Doe, the bass player and singer of the legendary Los Angeles punk band X, now on his tenth solo album. The \u003ca href=\"http://www.imdb.com/name/nm0230335/?ref_=nv_sr_2\" target=\"_blank\" rel=\"noopener\">actor\u003c/a>/musician has a new album out, \u003cem>The Westerner\u003c/em>, that he talked about with David this week. “This record was dedicated to a friend of mine who passed away in 2015, Michael Blake, who wrote the screenplay for \u003cem>Dances With Wolves\u003c/em>, but then it also became about the idea of a westerner, and luckily I was able to find images and take photographs that all kind of amplified or accented this idea of someone from the west.” Details on John Doe’s Sunday night show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/john-doe-his-rocknroll-band-gamh-w-special-guest-jesse-dayton/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11727400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727400\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg\" alt=\"'Hookers on Mars' playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-400x181.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-960x435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180.jpg 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hookers on Mars’ playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars \u003ccite>(Photo: Joan Osato/Campo Santo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 29 – July 10\u003c/strong>: Campo Santo is celebrating 20 years as an icon of Bay Area theater; a troupe making multi-ethnic theater with humane politics, and surviving despite its lack of a home theater. Their new play, in residency at ACT, offers a look to the future with \u003cem>Hookers on Mars Eventually\u003c/em> from San Francisco native Star Finch, and features a surround sound video design by Joan Osato, a scenic installation by Tanya Orellana, an original score by Tommy Soulati Shepherd, and direction by Campo Santo co-founder Sean San Jose. You’ll never be bored at a Campos Santo show. Details are \u003ca href=\"http://www.act-sf.org/home/box_office/special_events.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/PN0RPWII7gY'\n title='//www.youtube.com/embed/PN0RPWII7gY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 25:\u003c/strong> \u003ca href=\"http://www.andyshauf.com/\" target=\"_blank\" rel=\"noopener\">Andy Shauf \u003c/a>is a psychedelic-pop (is that obvious from the image above), singer-songwriter, and multi-instrumentalist from Saskatchewan celebrating the release of his new album, \u003cem>The Party.\u003c/em> It’s a lovely collection of stories of people-watching at all night bash, and makes you want to be there (but maybe not as the guy who shows up too early). Shauf is opening for the equally compelling headlining trio of \u003ca href=\"http://caselangveirs.com/\" target=\"_blank\" rel=\"noopener\">Neko Case, K.D. Lang, and Laura Veirs\u003c/a> at the Mountain Winery in Saratoga Saturday night. Details \u003ca href=\"http://www.axs.com/events/306777/case-lang-veirs-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every Tuesday at six in the morning, members of the San Jose-based \u003ca href=\"https://www.facebook.com/redladdertheatrecompany\" target=\"_blank\" rel=\"noopener\">Red Ladder Theatre Company\u003c/a> meet at the San Jose Caltrain station to drive about 90 minutes Southeast to Soledad, Calif. They meet early to make sure they have enough time to get ready for a three-hour improvisation class they teach at Salinas Valley State Prison — a maximum security facility where the state houses some of what it considers to be its most dangerous prisoners.\u003c/p>\n\u003cp>Red Ladder Director Karen Altree Piemme says the spontaneity of improvisation helps prisoners expand their sense of what’s possible. “In order for them to live a different life than the one that was handed to them they have to be able to imagine it first,” Altree Piemme says. “That’s what we’re giving them the opportunity to do through this process.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/270361169″ 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>Red Ladder member Tasi Alabastro has been teaching at Salinas Valley for the past two years. “It’s pretty nice when you show up and they’re like oh man we’ve been waiting all week for this,” Alabastro says. “At least for me I can’t help but self reflect and go ‘oh yeah, me too actually.’”\u003c/p>\n\u003cp>\u003cstrong>Challenging conditions\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Red Ladder has been working with disadvantaged communities in the Bay Area for more than 20 years. The theater company teaches improvisation techniques to help develop skills like problem solving and collaboration. The actors have worked in county jails and in juvenile hall, but they’re pretty new to maximum security prisons.\u003c/p>\n\u003cp>Red Ladder actor Sarita Ocon says it’s not easy getting in and there are lots of hoops to jump. “After going through and hearing the kind of procedures in place I think I was feeling depressed,” Ocon says.\u003c/p>\n\u003cp>The California Department of Corrections requires contractors, like the members of Red Ladder, to carry identification cards, whistles and go through four days of eye-glazing power-point presentations on safety and regulation rules. And the company members are not getting rich from their efforts. They call their work a labor love; each actor gets $150 a day in fees. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Once the prisoners are inside the drab, concrete gym where the class takes place, guards pat them down and check them in. And there’s also a sniper watching from an overhead gallery at all times during the class.\u003c/p>\n\u003cfigure id=\"attachment_11713546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713546 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-800x441.jpg\" alt='Inmate John Tafuna Faavesr (far left) \"passes\" a slap to another person in the circle. ' width=\"800\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748.jpg 1915w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inmate John Tafuna Faavesr (far left) “passes” a slap to another person in the circle. \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The juxtaposition of trying to have a free, open, creative environment when there’s someone 15 feet above your head with a gun pointed at you for your own safety is something you need to acknowledge and be aware of and then also set aside when it comes to looking at the work and approaching the work,” says Altree Piemme.\u003c/p>\n\u003cp>\u003cstrong>Getting students to open up\u003c/strong>\u003c/p>\n\u003cp>Today the prisoners are starting off with a warm-up exercise called slap pass — a game that gets them to focus intently on their surroundings. (Don’t worry, it’s a clapping game; no one is actually getting slapped!) At first, the inmates clap sheepishly, but by the end they’re boisterous and laughing.\u003c/p>\n\u003cp>Throughout the class, inmates participate in several other unscripted improvisation games designed to release their creative selves. Pantomiming exercises are big. Prisoners take turns pretending to hit baseballs or play basketball. In another game they imitate a morning bathroom routine using imaginary objects. The inmates develop these skills over time, and by the end of the 12-week course, they will have written and performed an original play.\u003c/p>\n\u003cfigure id=\"attachment_11713547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713547 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-800x448.jpg\" alt='Another inmate pretends to turn on water faucets in a game called \"Use One, Choose One.\"' width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another inmate pretends to turn on water faucets in a game called “Use One, Choose One.” \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inmate John Tafuna Faavesr, who has worked with Red Ladder twice, says these classes have helped him feel free to express himself. “I don’t feel judged,” Tafuna Faavesr says. “If I open up and just be who I want to be, my authentic self, I’m not being ridiculed by the next man or our instructors.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Faavesr says he’s learned to trust more in other people and make better decisions in the heat of the moment. Red Ladder’s Altree Piemme says there are exactly the results Red Ladder wants the prisoners to get out of the class. “When their creativity is handed back to them it opens up a whole new world to them,” Altree Piemme says. “And it gives them their selves back, gives them their humanity back,”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every Tuesday at six in the morning, members of the San Jose-based \u003ca href=\"https://www.facebook.com/redladdertheatrecompany\" target=\"_blank\" rel=\"noopener\">Red Ladder Theatre Company\u003c/a> meet at the San Jose Caltrain station to drive about 90 minutes Southeast to Soledad, Calif. They meet early to make sure they have enough time to get ready for a three-hour improvisation class they teach at Salinas Valley State Prison — a maximum security facility where the state houses some of what it considers to be its most dangerous prisoners.\u003c/p>\n\u003cp>Red Ladder Director Karen Altree Piemme says the spontaneity of improvisation helps prisoners expand their sense of what’s possible. “In order for them to live a different life than the one that was handed to them they have to be able to imagine it first,” Altree Piemme says. “That’s what we’re giving them the opportunity to do through this process.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/270361169″&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/270361169″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Red Ladder member Tasi Alabastro has been teaching at Salinas Valley for the past two years. “It’s pretty nice when you show up and they’re like oh man we’ve been waiting all week for this,” Alabastro says. “At least for me I can’t help but self reflect and go ‘oh yeah, me too actually.’”\u003c/p>\n\u003cp>\u003cstrong>Challenging conditions\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Red Ladder has been working with disadvantaged communities in the Bay Area for more than 20 years. The theater company teaches improvisation techniques to help develop skills like problem solving and collaboration. The actors have worked in county jails and in juvenile hall, but they’re pretty new to maximum security prisons.\u003c/p>\n\u003cp>Red Ladder actor Sarita Ocon says it’s not easy getting in and there are lots of hoops to jump. “After going through and hearing the kind of procedures in place I think I was feeling depressed,” Ocon says.\u003c/p>\n\u003cp>The California Department of Corrections requires contractors, like the members of Red Ladder, to carry identification cards, whistles and go through four days of eye-glazing power-point presentations on safety and regulation rules. And the company members are not getting rich from their efforts. They call their work a labor love; each actor gets $150 a day in fees. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Once the prisoners are inside the drab, concrete gym where the class takes place, guards pat them down and check them in. And there’s also a sniper watching from an overhead gallery at all times during the class.\u003c/p>\n\u003cfigure id=\"attachment_11713546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713546 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-800x441.jpg\" alt='Inmate John Tafuna Faavesr (far left) \"passes\" a slap to another person in the circle. ' width=\"800\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748.jpg 1915w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inmate John Tafuna Faavesr (far left) “passes” a slap to another person in the circle. \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The juxtaposition of trying to have a free, open, creative environment when there’s someone 15 feet above your head with a gun pointed at you for your own safety is something you need to acknowledge and be aware of and then also set aside when it comes to looking at the work and approaching the work,” says Altree Piemme.\u003c/p>\n\u003cp>\u003cstrong>Getting students to open up\u003c/strong>\u003c/p>\n\u003cp>Today the prisoners are starting off with a warm-up exercise called slap pass — a game that gets them to focus intently on their surroundings. (Don’t worry, it’s a clapping game; no one is actually getting slapped!) At first, the inmates clap sheepishly, but by the end they’re boisterous and laughing.\u003c/p>\n\u003cp>Throughout the class, inmates participate in several other unscripted improvisation games designed to release their creative selves. Pantomiming exercises are big. Prisoners take turns pretending to hit baseballs or play basketball. In another game they imitate a morning bathroom routine using imaginary objects. The inmates develop these skills over time, and by the end of the 12-week course, they will have written and performed an original play.\u003c/p>\n\u003cfigure id=\"attachment_11713547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713547 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-800x448.jpg\" alt='Another inmate pretends to turn on water faucets in a game called \"Use One, Choose One.\"' width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another inmate pretends to turn on water faucets in a game called “Use One, Choose One.” \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inmate John Tafuna Faavesr, who has worked with Red Ladder twice, says these classes have helped him feel free to express himself. “I don’t feel judged,” Tafuna Faavesr says. “If I open up and just be who I want to be, my authentic self, I’m not being ridiculed by the next man or our instructors.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Faavesr says he’s learned to trust more in other people and make better decisions in the heat of the moment. Red Ladder’s Altree Piemme says there are exactly the results Red Ladder wants the prisoners to get out of the class. “When their creativity is handed back to them it opens up a whole new world to them,” Altree Piemme says. “And it gives them their selves back, gives them their humanity back,”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An American Opera Impresario Takes His Final Bow",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/481249440/482206919\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In 1970, a young business school grad — and failed opera singer — named David Gockley landed a job as business manager of the Houston Grand Opera. After two years, at age 27, he moved up to general director.\u003c/p>\n\u003cp>Over the next 30 years, Gockley transformed the company into a hothouse for new and revived American opera. During his tenure in Houston, Gockley presented 35 world premieres, including John Adams’ \u003cem>Nixon in China\u003c/em>, Stewart Wallace’s \u003cem>Harvey Milk\u003c/em>, Leonard Bernstein’s \u003cem>A Quiet Place\u003c/em>, Mark Adamo’s \u003cem>Little Women\u003c/em> and three operas by Carlisle Floyd.\u003c/p>\n\u003cp>Gockley continued along the same path after moving to the San Francisco Opera in 2006. As general director he racked up more world premieres — Philip Glass’ Civil War drama \u003cem>Appomattox\u003c/em> and Christopher Theofanidis’ 9/11 story \u003cem>Heart of a Soldier\u003c/em>. A new opera from Bright Sheng, \u003cem>Dream of the Red Chamber\u003c/em>, debuts this fall, and Tuesday Gockley announced \u003cem>Girls of the Golden West\u003c/em>, an Adams opera premiering in November 2017.\u003c/p>\n\u003cp>Now this pioneering impresario is about to “pack it in,” as he says in the audio feature above. Gockley will retire in July. To mark the occasion, the San Francisco Opera is throwing a little party for him Thursday that will include a number of singers (“my kiddies”) whose careers he helped nurture, including \u003ca href=\"http://www.npr.org/artists/15656760/renee-fleming\" target=\"_blank\" rel=\"noopener\">Renée Fleming\u003c/a>, Susan Graham, Patricia Racette, René Pape and Dolora Zajick.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We asked Gockley to reminisce a little and tell a few stories about his early years and the great music he nurtured in Houston, beginning with his very first production of \u003ca href=\"http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=2810&ttype=BIOGRAPHY\" target=\"_blank\" rel=\"noopener\">Carlisle Floyd\u003c/a>‘s \u003cem>Susannah \u003c/em>in 1972. That opera convinced him “there was an opportunity to have an American opera repertoire.”\u003c/p>\n\u003cp>\u003cem>(Editor’s Note: There is one mildly objectional word used twice during the audio feature.) \u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" link=\"none\" ids=\"11700679,11700688,11700687,11700686,11700685,11700684,11700680,11700681,11700693,11700692\"]\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+American+Opera+Impresario+Takes+His+Final+Bow&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/481249440/482206919\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In 1970, a young business school grad — and failed opera singer — named David Gockley landed a job as business manager of the Houston Grand Opera. After two years, at age 27, he moved up to general director.\u003c/p>\n\u003cp>Over the next 30 years, Gockley transformed the company into a hothouse for new and revived American opera. During his tenure in Houston, Gockley presented 35 world premieres, including John Adams’ \u003cem>Nixon in China\u003c/em>, Stewart Wallace’s \u003cem>Harvey Milk\u003c/em>, Leonard Bernstein’s \u003cem>A Quiet Place\u003c/em>, Mark Adamo’s \u003cem>Little Women\u003c/em> and three operas by Carlisle Floyd.\u003c/p>\n\u003cp>Gockley continued along the same path after moving to the San Francisco Opera in 2006. As general director he racked up more world premieres — Philip Glass’ Civil War drama \u003cem>Appomattox\u003c/em> and Christopher Theofanidis’ 9/11 story \u003cem>Heart of a Soldier\u003c/em>. A new opera from Bright Sheng, \u003cem>Dream of the Red Chamber\u003c/em>, debuts this fall, and Tuesday Gockley announced \u003cem>Girls of the Golden West\u003c/em>, an Adams opera premiering in November 2017.\u003c/p>\n\u003cp>Now this pioneering impresario is about to “pack it in,” as he says in the audio feature above. Gockley will retire in July. To mark the occasion, the San Francisco Opera is throwing a little party for him Thursday that will include a number of singers (“my kiddies”) whose careers he helped nurture, including \u003ca href=\"http://www.npr.org/artists/15656760/renee-fleming\" target=\"_blank\" rel=\"noopener\">Renée Fleming\u003c/a>, Susan Graham, Patricia Racette, René Pape and Dolora Zajick.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We asked Gockley to reminisce a little and tell a few stories about his early years and the great music he nurtured in Houston, beginning with his very first production of \u003ca href=\"http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=2810&ttype=BIOGRAPHY\" target=\"_blank\" rel=\"noopener\">Carlisle Floyd\u003c/a>‘s \u003cem>Susannah \u003c/em>in 1972. That opera convinced him “there was an opportunity to have an American opera repertoire.”\u003c/p>\n\u003cp>\u003cem>(Editor’s Note: There is one mildly objectional word used twice during the audio feature.) \u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The ever resourceful and itinerant Ubuntu Theater Project’s first move in staging \u003cem>Othello\u003c/em>, one of Shakespeare’s most horrific tragedies, is to encase it in beauty. At \u003ca href=\"http://www.emmetteilandorientalrugs.com/?gclid=Cj0KEQjw-YO7BRDwi6Stp7T296ABEiQAD6iWMaRUVCQl-uB5omnUAQuHMSd9-eBNYvP9_yM17GeItmcaAlUM8P8HAQ\" target=\"_blank\" rel=\"noopener\">Emmett Eiland’s Oriental Rug Company\u003c/a>, a Berkeley store selling Persian carpets and the like, the company has found not only a beautiful venue, but also one that possesses an epic sense of tranquility.\u003c/p>\n\u003cp>There are rugs everywhere, hanging from the walls like ancient tapestries, in huge piles behind the audience — as if the world we’ve entered were smothered in an abundance of treasure — and on the floor of the stage, where the actors glide over a complex mosaic of woven, abstract patterns.\u003c/p>\n\u003cp>The production is especially sharp in the first act, where Othello triumphs in spite of his race, navigating the complex political and social realities of a white, European Venice. Ronald Kirk’s Othello catches the swift intelligence and physical grace of a warrior who knows his way around power and how to bend it to his will.\u003c/p>\n\u003cp>The Duke of Venice summons Othello, his best general, for an important mission against the Turks and he’s ready. Immediately thereafter, surrounded by his father-in-law’s men and accused of defiling Desdemona — who he has secretly married — he commands the situation even in captivity. This Othello is like some cunning god descended from the heavens: every situation is a testament to his brilliance and excellence.\u003c/p>\n\u003cfigure id=\"attachment_11688353\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg\" alt=\"Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Socrates Moran’s direction is cinematic-fast. Soldiers slip along the periphery, Othello and Desdemona kiss in the background, Iago and Roderigo hide in the shadows and then erupt to the center of the stage. We’re in the street, now in the Senate, the piles of rugs behind the audience, a labyrinthine Venice of alleyways and canals. In the heady rush of Othello’s political and romantic victories, we almost forget how sickening this is all going to get.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then the tragedy begins. Kirk, in a truly complex performance, seems to age 10 years between the first and second acts. The outsider cool of the Venetian scenes gives way to a clumsy vanity, a buffoon’s attempt at a pretended gravitas. Watch how this Othello is always vainly rearranging his scarf.\u003c/p>\n\u003cp>Kirk’s Othello and Michael Navarra’s Iago are excellent together and catch what’s most essential about the play: that these men are contrary aspects of the same soul. In the last image before the intermission, they stare at each other and embrace in a strange caress. It’s unclear whether they’re ready to fight, kiss, or console one another.\u003c/p>\n\u003cfigure id=\"attachment_11688350\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg\" alt=\"Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how successful, neither of them seems capable of resting in the world. They can navigate it as Othello does in the first act and manipulate it as Iago does in the rest of the play. But there is no calm, only a roiling absence where a person should be. Both of these characters operate best as outsiders. And so Othello’s triumph becomes Iago’s opportunity. The mantle of cool slips from good to evil and we’re caught admiring a devil.\u003c/p>\n\u003cp>It’s one of Shakespeare’s wiliest ethical traps and finds perfect expression in Ubuntu’s social and aesthetic concerns. One of the pleasures of this young company is how seriously its members take the importance of the ensemble. They always get fine lead performances, but they are of a piece with the whole cast. Even the walk-ons perform with a ferocity equal to the stars and that gives Ubuntu productions, this \u003cem>Othello\u003c/em> included, a sense of completeness.\u003c/p>\n\u003cp>So when Othello and Iago grasp each other in the middle of the stage, we feel the pressure of the entire cast weighing down on them and feel the complexities of the play all the more acutely. Shakespeare’s shifty moral calculus and Ubuntu’s commitment to the group demand clarity. Conflict is never random, but rather the result of entire worlds and cultures.\u003c/p>\n\u003cp>As with the company’s recent stage adaptation of John Steinbeck’s \u003cem>Grapes of Wrath\u003c/em>, Ubuntu’s theatrical invention flags at times. And the production is somewhat marred by a weak Desdemona. Emilie Whelan is capable, but seems to be acting an interpretation rather than a person. Where the other leads stay in the moment, the actress seems too aware of Desdemona’s fate. As early as the first act, Whelan behaves as if she’s caught in a nightmare rather than embarking on the adventure of her life. It’s Desdemona’s belief in Othello’s goodness, not her dread of him, that sustains the character for most of the play.\u003c/p>\n\u003cp>Yet the production is consistently forceful. When we reach Othello’s murder of Desdemona and the long, strange scene that follows it, Moran and company come close to pulling off one of theater’s most brutally difficult scenes. As Othello slinks towards Desdemona’s bed to kill her, you realize that for at least an hour the ensemble has been working on Desdemona’s handkerchief, the false evidence that convinces Othello to murder his beloved wife.\u003c/p>\n\u003cp>What was once a slight piece of cloth is now around 30 feet long. The cast stretches it across the stage — about six feet above the bed — reframing the cavernous space into a harsh and unforgiving rectangle. Even though there is a vast and enticing world around the massive piece of fabric — the beauty and tranquility of all those hanging rugs — you know there is no way out of that room.\u003c/p>\n\u003cfigure id=\"attachment_11691987\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691987\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg\" alt=\"Things get wild for Emilia (Sarita Ocon) and the rest the cast in The Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Things get wild for Emilia (Sarita Ocon) and the rest the cast in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This bit of theatrical magic allows Kirk’s Othello, Navarra’s Iago, and Sarita Ocon’s churning Emilia to take on the sharp shifts in focus that end this unnerving, ugly tragedy. As they snarl and lash out like wild animals in a cage, you think, yes, this is close to what must happen. I wouldn’t say that this \u003cem>Othello\u003c/em> is entirely successful, but it’s a thrilling, daring attempt nonetheless.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Othello\u003c/em> plays through Sunday, June 26 at Emmett Eiland’s Oriental Rug Company, Berkeley. For tickets and information please click \u003ca href=\"http://www.ubuntutheaterproject.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ever resourceful and itinerant Ubuntu Theater Project’s first move in staging \u003cem>Othello\u003c/em>, one of Shakespeare’s most horrific tragedies, is to encase it in beauty. At \u003ca href=\"http://www.emmetteilandorientalrugs.com/?gclid=Cj0KEQjw-YO7BRDwi6Stp7T296ABEiQAD6iWMaRUVCQl-uB5omnUAQuHMSd9-eBNYvP9_yM17GeItmcaAlUM8P8HAQ\" target=\"_blank\" rel=\"noopener\">Emmett Eiland’s Oriental Rug Company\u003c/a>, a Berkeley store selling Persian carpets and the like, the company has found not only a beautiful venue, but also one that possesses an epic sense of tranquility.\u003c/p>\n\u003cp>There are rugs everywhere, hanging from the walls like ancient tapestries, in huge piles behind the audience — as if the world we’ve entered were smothered in an abundance of treasure — and on the floor of the stage, where the actors glide over a complex mosaic of woven, abstract patterns.\u003c/p>\n\u003cp>The production is especially sharp in the first act, where Othello triumphs in spite of his race, navigating the complex political and social realities of a white, European Venice. Ronald Kirk’s Othello catches the swift intelligence and physical grace of a warrior who knows his way around power and how to bend it to his will.\u003c/p>\n\u003cp>The Duke of Venice summons Othello, his best general, for an important mission against the Turks and he’s ready. Immediately thereafter, surrounded by his father-in-law’s men and accused of defiling Desdemona — who he has secretly married — he commands the situation even in captivity. This Othello is like some cunning god descended from the heavens: every situation is a testament to his brilliance and excellence.\u003c/p>\n\u003cfigure id=\"attachment_11688353\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg\" alt=\"Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Socrates Moran’s direction is cinematic-fast. Soldiers slip along the periphery, Othello and Desdemona kiss in the background, Iago and Roderigo hide in the shadows and then erupt to the center of the stage. We’re in the street, now in the Senate, the piles of rugs behind the audience, a labyrinthine Venice of alleyways and canals. In the heady rush of Othello’s political and romantic victories, we almost forget how sickening this is all going to get.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then the tragedy begins. Kirk, in a truly complex performance, seems to age 10 years between the first and second acts. The outsider cool of the Venetian scenes gives way to a clumsy vanity, a buffoon’s attempt at a pretended gravitas. Watch how this Othello is always vainly rearranging his scarf.\u003c/p>\n\u003cp>Kirk’s Othello and Michael Navarra’s Iago are excellent together and catch what’s most essential about the play: that these men are contrary aspects of the same soul. In the last image before the intermission, they stare at each other and embrace in a strange caress. It’s unclear whether they’re ready to fight, kiss, or console one another.\u003c/p>\n\u003cfigure id=\"attachment_11688350\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg\" alt=\"Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how successful, neither of them seems capable of resting in the world. They can navigate it as Othello does in the first act and manipulate it as Iago does in the rest of the play. But there is no calm, only a roiling absence where a person should be. Both of these characters operate best as outsiders. And so Othello’s triumph becomes Iago’s opportunity. The mantle of cool slips from good to evil and we’re caught admiring a devil.\u003c/p>\n\u003cp>It’s one of Shakespeare’s wiliest ethical traps and finds perfect expression in Ubuntu’s social and aesthetic concerns. One of the pleasures of this young company is how seriously its members take the importance of the ensemble. They always get fine lead performances, but they are of a piece with the whole cast. Even the walk-ons perform with a ferocity equal to the stars and that gives Ubuntu productions, this \u003cem>Othello\u003c/em> included, a sense of completeness.\u003c/p>\n\u003cp>So when Othello and Iago grasp each other in the middle of the stage, we feel the pressure of the entire cast weighing down on them and feel the complexities of the play all the more acutely. Shakespeare’s shifty moral calculus and Ubuntu’s commitment to the group demand clarity. Conflict is never random, but rather the result of entire worlds and cultures.\u003c/p>\n\u003cp>As with the company’s recent stage adaptation of John Steinbeck’s \u003cem>Grapes of Wrath\u003c/em>, Ubuntu’s theatrical invention flags at times. And the production is somewhat marred by a weak Desdemona. Emilie Whelan is capable, but seems to be acting an interpretation rather than a person. Where the other leads stay in the moment, the actress seems too aware of Desdemona’s fate. As early as the first act, Whelan behaves as if she’s caught in a nightmare rather than embarking on the adventure of her life. It’s Desdemona’s belief in Othello’s goodness, not her dread of him, that sustains the character for most of the play.\u003c/p>\n\u003cp>Yet the production is consistently forceful. When we reach Othello’s murder of Desdemona and the long, strange scene that follows it, Moran and company come close to pulling off one of theater’s most brutally difficult scenes. As Othello slinks towards Desdemona’s bed to kill her, you realize that for at least an hour the ensemble has been working on Desdemona’s handkerchief, the false evidence that convinces Othello to murder his beloved wife.\u003c/p>\n\u003cp>What was once a slight piece of cloth is now around 30 feet long. The cast stretches it across the stage — about six feet above the bed — reframing the cavernous space into a harsh and unforgiving rectangle. Even though there is a vast and enticing world around the massive piece of fabric — the beauty and tranquility of all those hanging rugs — you know there is no way out of that room.\u003c/p>\n\u003cfigure id=\"attachment_11691987\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691987\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg\" alt=\"Things get wild for Emilia (Sarita Ocon) and the rest the cast in The Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Things get wild for Emilia (Sarita Ocon) and the rest the cast in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This bit of theatrical magic allows Kirk’s Othello, Navarra’s Iago, and Sarita Ocon’s churning Emilia to take on the sharp shifts in focus that end this unnerving, ugly tragedy. As they snarl and lash out like wild animals in a cage, you think, yes, this is close to what must happen. I wouldn’t say that this \u003cem>Othello\u003c/em> is entirely successful, but it’s a thrilling, daring attempt nonetheless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Othello\u003c/em> plays through Sunday, June 26 at Emmett Eiland’s Oriental Rug Company, Berkeley. For tickets and information please click \u003ca href=\"http://www.ubuntutheaterproject.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dear Americans, queer people, Muslims, Latinos, Floridians, queer Floridian Muslim Latino Americans, people with souls, people with hearts, and people with brains:\u003c/p>\n\u003cp>This has been a rough week.\u003c/p>\n\u003cp>There's a thing that happens when it's your job to cover pop culture and something as unspeakably horrifying as the Orlando massacre takes place. It's a cousin to writer's block, but louder, and more like a vacuum -- an overwhelming, dog whistle-pitched white noise occupying the corner of your head usually reserved for germinating Hot Takes on Taylor Swift or \u003cem>Ghostbusters\u003c/em> or Peter Thiel. If it were a song with words, they would go \"How on \u003cem>Earth\u003c/em> am I supposed to write about this shit like it matters right now / dear god what is it that I actually do for a living / give up, retreat, crawl under the covers and do not move from the fetal position until the world stops seeming so dark and it feels okay to be entertained by \u003ca href=\"http://gawker.com/smash-mouths-desperate-endless-twitter-battle-1781910819\" target=\"_blank\">Smash Mouth's Twitter feed\u003c/a> again.\" (I never said it was catchy.)\u003c/p>\n\u003cp>And then, inevitably, slowly, the paralysis subsides. In its place, alongside righteous anger, is something softer. Something like: After you've cried and screamed and written letters to your congressperson and danced and drank and used whatever coping mechanisms you might personally use to try to make sense of something that's the very definition of senseless, there is a place and a purpose for silliness. Levity, entertainment, diversion -- stupidity, even -- they all have jobs.\u003c/p>\n\u003cp>There's a reason, after all, that \u003ca href=\"http://www.cbsnews.com/news/what-movies-mean-to-us-in-hard-times/\" target=\"_blank\">Hollywood enjoyed its first golden age during the worst of the Great Depression. \u003c/a>In the 14th century, when the bubonic plague was devastating Western Europe, people made up \u003cem>jousting\u003c/em>, for Christ's sake. I'm no expert, but archaeologists would probably tell you at least a few of mankind's earliest cave paintings, rendered by humans under constant threat of death by the elements or woolly mammoth, were essentially prehistoric Cathy cartoons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is with this preamble, and a strong feeling that a love of inanity can exist alongside deep reverence and grief, and also a strong feeling that some of you need to step away from Facebook comment arguments about the Second Amendment before you say things to relatives you later come to regret, that I present the following:\u003c/p>\n\u003cp>There is a circus at Fort Mason right now. It has been here for about a week, and it has five more scheduled performances before it is over. This circus features cats. Cats walking on tightropes. Cats pushing balls in an organized fashion. Cats playing in a motherf*cking rock 'n' roll band.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q5Oko13Le44\u003c/p>\n\u003cp>I mean.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FnLcnak9vak\u003c/p>\n\u003cp>Here is some copy, which I have not edited, from the Amazing Acro-Cats' official \u003ca href=\"https://www.facebook.com/events/1567257286925425/\" target=\"_blank\">Facebook event page\u003c/a> for their time in San Francisco.\u003c/p>\n\u003cblockquote>\u003cp>The Amazing Acro-cats are a troupe of REAL house cats that jump and pounce into your heart! Reaching out to shelters in need and accepting cats found homeless in the streets, Samantha Martin has not only rescued her own cats but also have found homes for over 172 cats and kittens. Giving them a second chance with positive reinforcement-only clicker training, they take these amazing abilities on the road and tour the nation in the infamous Acro-cat Bus!\u003c/p>\n\u003cp>Ever see a cat walk a tightrope? Meow you can! Ever see someone's pet balance and roll on a ball across the floor? Come see it here and meow! OMG WHUT? - a cat riding a skateboard! But wait, there is so, so much more! The grand finale, presenting the ONLY ALL CAT BAND IN EXISTENCE - Tuna and the Rock Cats! The current band lineup is Tuna on Cowbell, Oz on guitar, Asti on Drums, and Nue on keyboard - Real cats purrforming with Real instruments have blown minds and educated audiences of all ages that CATS CAN ACTUALLY BE TRAINED!\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=c4-i7PSzAfA\u003c/p>\n\u003cp>The Acro-Cats perform tonight, June 17, at 7pm; Saturday, June 18 at 3 and 7pm; and Sunday, June 19 at 1 and 5pm in the Southside Theatre at Fort Mason Center, Building D. Tickets are $25 - $35, and a portion of the proceeds go to benefit the nonprofit \u003ca href=\"http://www.cattownoakland.org/\" target=\"_blank\">Cat Town Oakland.\u003c/a> If you have further questions, the answers can probably be found on the excellent website\u003ca href=\"http://www.circuscats.com/\" target=\"_blank\"> CircusCats.com\u003c/a>. Please note said website is also worth a look even if you don't have questions.\u003c/p>\n\u003cp>With that: Happy Friday, friends. Take care of yourselves this weekend. Hold your loved ones close. And then, if you really love them, maybe take them to the cat circus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear Americans, queer people, Muslims, Latinos, Floridians, queer Floridian Muslim Latino Americans, people with souls, people with hearts, and people with brains:\u003c/p>\n\u003cp>This has been a rough week.\u003c/p>\n\u003cp>There's a thing that happens when it's your job to cover pop culture and something as unspeakably horrifying as the Orlando massacre takes place. It's a cousin to writer's block, but louder, and more like a vacuum -- an overwhelming, dog whistle-pitched white noise occupying the corner of your head usually reserved for germinating Hot Takes on Taylor Swift or \u003cem>Ghostbusters\u003c/em> or Peter Thiel. If it were a song with words, they would go \"How on \u003cem>Earth\u003c/em> am I supposed to write about this shit like it matters right now / dear god what is it that I actually do for a living / give up, retreat, crawl under the covers and do not move from the fetal position until the world stops seeming so dark and it feels okay to be entertained by \u003ca href=\"http://gawker.com/smash-mouths-desperate-endless-twitter-battle-1781910819\" target=\"_blank\">Smash Mouth's Twitter feed\u003c/a> again.\" (I never said it was catchy.)\u003c/p>\n\u003cp>And then, inevitably, slowly, the paralysis subsides. In its place, alongside righteous anger, is something softer. Something like: After you've cried and screamed and written letters to your congressperson and danced and drank and used whatever coping mechanisms you might personally use to try to make sense of something that's the very definition of senseless, there is a place and a purpose for silliness. Levity, entertainment, diversion -- stupidity, even -- they all have jobs.\u003c/p>\n\u003cp>There's a reason, after all, that \u003ca href=\"http://www.cbsnews.com/news/what-movies-mean-to-us-in-hard-times/\" target=\"_blank\">Hollywood enjoyed its first golden age during the worst of the Great Depression. \u003c/a>In the 14th century, when the bubonic plague was devastating Western Europe, people made up \u003cem>jousting\u003c/em>, for Christ's sake. I'm no expert, but archaeologists would probably tell you at least a few of mankind's earliest cave paintings, rendered by humans under constant threat of death by the elements or woolly mammoth, were essentially prehistoric Cathy cartoons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is with this preamble, and a strong feeling that a love of inanity can exist alongside deep reverence and grief, and also a strong feeling that some of you need to step away from Facebook comment arguments about the Second Amendment before you say things to relatives you later come to regret, that I present the following:\u003c/p>\n\u003cp>There is a circus at Fort Mason right now. It has been here for about a week, and it has five more scheduled performances before it is over. This circus features cats. Cats walking on tightropes. Cats pushing balls in an organized fashion. Cats playing in a motherf*cking rock 'n' roll band.\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/Q5Oko13Le44'\n title='//www.youtube.com/embed/Q5Oko13Le44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I mean.\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/FnLcnak9vak'\n title='//www.youtube.com/embed/FnLcnak9vak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here is some copy, which I have not edited, from the Amazing Acro-Cats' official \u003ca href=\"https://www.facebook.com/events/1567257286925425/\" target=\"_blank\">Facebook event page\u003c/a> for their time in San Francisco.\u003c/p>\n\u003cblockquote>\u003cp>The Amazing Acro-cats are a troupe of REAL house cats that jump and pounce into your heart! Reaching out to shelters in need and accepting cats found homeless in the streets, Samantha Martin has not only rescued her own cats but also have found homes for over 172 cats and kittens. Giving them a second chance with positive reinforcement-only clicker training, they take these amazing abilities on the road and tour the nation in the infamous Acro-cat Bus!\u003c/p>\n\u003cp>Ever see a cat walk a tightrope? Meow you can! Ever see someone's pet balance and roll on a ball across the floor? Come see it here and meow! OMG WHUT? - a cat riding a skateboard! But wait, there is so, so much more! The grand finale, presenting the ONLY ALL CAT BAND IN EXISTENCE - Tuna and the Rock Cats! The current band lineup is Tuna on Cowbell, Oz on guitar, Asti on Drums, and Nue on keyboard - Real cats purrforming with Real instruments have blown minds and educated audiences of all ages that CATS CAN ACTUALLY BE TRAINED!\u003c/p>\u003c/blockquote>\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/c4-i7PSzAfA'\n title='//www.youtube.com/embed/c4-i7PSzAfA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Acro-Cats perform tonight, June 17, at 7pm; Saturday, June 18 at 3 and 7pm; and Sunday, June 19 at 1 and 5pm in the Southside Theatre at Fort Mason Center, Building D. Tickets are $25 - $35, and a portion of the proceeds go to benefit the nonprofit \u003ca href=\"http://www.cattownoakland.org/\" target=\"_blank\">Cat Town Oakland.\u003c/a> If you have further questions, the answers can probably be found on the excellent website\u003ca href=\"http://www.circuscats.com/\" target=\"_blank\"> CircusCats.com\u003c/a>. Please note said website is also worth a look even if you don't have questions.\u003c/p>\n\u003cp>With that: Happy Friday, friends. Take care of yourselves this weekend. Hold your loved ones close. And then, if you really love them, maybe take them to the cat circus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the wake of a fascinatingly gritty\u003cem> Carmen\u003c/em> hampered by lackluster singing and a \u003cem>Don Carlo\u003c/em> that counterbalances a great cast against boring staging, San Francisco Opera saves the best for last with a brilliant production of Czech composer Leoš Janáček’s \u003cem>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/jenufa/\" target=\"_blank\" rel=\"noopener\">Jenůfa\u003c/a>, \u003c/em>which opened\u003cem> \u003c/em>Tuesday night.\u003c/p>\n\u003cp>\u003cem>Jenůfa\u003c/em> is a tour de force, with sublime musicianship from the orchestra, a sleek triangular set, and above all, a cadre of world-class singer-actors.\u003c/p>\n\u003cp>Janáček’s most popular opera, first performed in 1904, takes place in a Moravian village in the 19th century. Like numerous other operas of the era that focus on unfortunate damsels (\u003cem>La Bohème\u003c/em>, \u003cem>Tosca\u003c/em>, \u003cem>Madame Butterfly…) \u003c/em>its narrative follows the fate of a lithe, young woman whose life gets upended when she sleeps with the local miller’s ne’er-do-well son, finds herself pregnant out of wedlock, and then has to deal with her stepmother’s wrath.\u003c/p>\n\u003cfigure id=\"attachment_11691659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/B5A6961.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11691659 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/B5A6961-800x540.jpg\" alt=\"Karita Mattila\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-1920x1297.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-960x649.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karita Mattila as Kostelnička in San Francisco Opera’s Jenůfa. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The composer’s music involves a complex interplay of orchestra and vocal lines, punctuated by lots of whirling rhythms. There are many moments of gorgeous lyricism, too. In Act II, perhaps most notably, Janáček writes gorgeous, harrowing melodies for Jenůfa’s\u003cem> \u003c/em>stepmother, Kostelnička, that draw out the complexity of the tough-minded yet tortured character upon whose extreme actions much of the ensuing plot-line is built.\u003c/p>\n\u003cp>San Francisco Opera’s production, directed by Oliver Tambosi, features a large stone, center stage. The ponderous rock first emerges from the ground, then dominates the stage in Act II, and is finally broken up pieces in the last act. Granted, the symbolism is way too obvious, as when the drugged Jenůfa sings of her head feeling like a stone in the second act. Yet the poetically abstract set design looks elegant without being slavishly descriptive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The work takes fire from the very first moment, with Czech conductor Jiří Bělohlávek leading the orchestra with fluid transparency. Most of the singers seem well matched to their roles. Malin Byström is an ideal Jenůfa. Her mellow soprano is clear, and the character’s journey from frivolous, sweet girl to scarred, damaged woman comes through the performer’s entire being, both in her singing and her physicality.\u003c/p>\n\u003cp>Karita Mattila is frightening as Kostelnička, the stepmother whose terrible crime to save her reputation is pivotal to the work. Mattila’s voice is special; it has a creamy heft to it, yet sounds bizarrely ethereal as well. Mattila’s portrayal makes Kostelnička seem human despite her savage side.\u003c/p>\n\u003cp>The production is David Gockley’s final offering as San Francisco Opera’s general director. It makes for a memorable curtain call.\u003c/p>\n\u003cp>\u003cem>Jenůfa runs through Friday, Jul. 1 at the War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"http://sfopera.com/discover-opera/1516-season/jenufa/\" 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>\u003cp>In the wake of a fascinatingly gritty\u003cem> Carmen\u003c/em> hampered by lackluster singing and a \u003cem>Don Carlo\u003c/em> that counterbalances a great cast against boring staging, San Francisco Opera saves the best for last with a brilliant production of Czech composer Leoš Janáček’s \u003cem>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/jenufa/\" target=\"_blank\" rel=\"noopener\">Jenůfa\u003c/a>, \u003c/em>which opened\u003cem> \u003c/em>Tuesday night.\u003c/p>\n\u003cp>\u003cem>Jenůfa\u003c/em> is a tour de force, with sublime musicianship from the orchestra, a sleek triangular set, and above all, a cadre of world-class singer-actors.\u003c/p>\n\u003cp>Janáček’s most popular opera, first performed in 1904, takes place in a Moravian village in the 19th century. Like numerous other operas of the era that focus on unfortunate damsels (\u003cem>La Bohème\u003c/em>, \u003cem>Tosca\u003c/em>, \u003cem>Madame Butterfly…) \u003c/em>its narrative follows the fate of a lithe, young woman whose life gets upended when she sleeps with the local miller’s ne’er-do-well son, finds herself pregnant out of wedlock, and then has to deal with her stepmother’s wrath.\u003c/p>\n\u003cfigure id=\"attachment_11691659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/B5A6961.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11691659 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/B5A6961-800x540.jpg\" alt=\"Karita Mattila\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-1920x1297.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/B5A6961-960x649.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karita Mattila as Kostelnička in San Francisco Opera’s Jenůfa. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The composer’s music involves a complex interplay of orchestra and vocal lines, punctuated by lots of whirling rhythms. There are many moments of gorgeous lyricism, too. In Act II, perhaps most notably, Janáček writes gorgeous, harrowing melodies for Jenůfa’s\u003cem> \u003c/em>stepmother, Kostelnička, that draw out the complexity of the tough-minded yet tortured character upon whose extreme actions much of the ensuing plot-line is built.\u003c/p>\n\u003cp>San Francisco Opera’s production, directed by Oliver Tambosi, features a large stone, center stage. The ponderous rock first emerges from the ground, then dominates the stage in Act II, and is finally broken up pieces in the last act. Granted, the symbolism is way too obvious, as when the drugged Jenůfa sings of her head feeling like a stone in the second act. Yet the poetically abstract set design looks elegant without being slavishly descriptive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The work takes fire from the very first moment, with Czech conductor Jiří Bělohlávek leading the orchestra with fluid transparency. Most of the singers seem well matched to their roles. Malin Byström is an ideal Jenůfa. Her mellow soprano is clear, and the character’s journey from frivolous, sweet girl to scarred, damaged woman comes through the performer’s entire being, both in her singing and her physicality.\u003c/p>\n\u003cp>Karita Mattila is frightening as Kostelnička, the stepmother whose terrible crime to save her reputation is pivotal to the work. Mattila’s voice is special; it has a creamy heft to it, yet sounds bizarrely ethereal as well. Mattila’s portrayal makes Kostelnička seem human despite her savage side.\u003c/p>\n\u003cp>The production is David Gockley’s final offering as San Francisco Opera’s general director. It makes for a memorable curtain call.\u003c/p>\n\u003cp>\u003cem>Jenůfa runs through Friday, Jul. 1 at the War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"http://sfopera.com/discover-opera/1516-season/jenufa/\" 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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"content": "\u003cp>Two titans in the modern-day world of opera — composer John Adams and director/librettist Peter Sellars — are working together on a new opera about women during California’s Gold Rush that will premiere in San Francisco next year, according to the San Francisco Opera (SF Opera).\u003c/p>\n\u003cp>SF Opera director David Gockley announced the commission of \u003ci>Girls of the Golden West\u003c/i> Tuesday morning, highlighting the fact that the work will feature a libretto from Sellars, who is also directing. \u003c/p>\n\u003cp>The new opera, which is reportedly based on factual events, follows three women living in a small mining town during the Gold Rush of the 1850s, a period in time Adams has called “California’s first bubble.”\u003c/p>\n\u003cp>The story idea came to Sellars while he was researching another project set during the Gold Rush era.\u003c/p>\n\u003cp>“While I was doing research to create a new production of Puccini’s \u003cem>La Fanciulla del West\u003c/em> for a European company, I uncovered a treasure trove of fascinating historical and literary descriptions of accounts from the California Gold Rush, unveiling vivid and fascinating personalities, events and situations,” Sellars said. “These true stories of the forty-niners are overwhelming in their heroism, passion and cruelty, telling tales of racial conflicts, colorful and humorous exploits, political strife and struggles to build anew a life and to decide what it would mean to be American.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adams, a Bay Area resident, and Sellars have worked together on operas that are considered part of the American canon, including \u003ci>Nixon in China\u003c/i> and \u003ci>Doctor Atomic\u003c/i>.\u003c/p>\n\u003cp>“When longtime colleagues John Adams and Peter Sellars approached me with their idea of a new opera set in the period of the California Gold Rush, I was very delighted with the opportunity to present the world premiere here in the city created in large part by the 1849 Gold Rush,” Gockley said. “The invigorating originality of John’s music paired with the inventiveness of Peter’s staging and libretto promise to make this opera an exhilarating new addition to the repertoire.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gockley, who also commissioned \u003ci>Nixon in China\u003c/i> in 1987, is retiring from the SF Opera at the end of the 2015-16 season. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two titans in the modern-day world of opera — composer John Adams and director/librettist Peter Sellars — are working together on a new opera about women during California’s Gold Rush that will premiere in San Francisco next year, according to the San Francisco Opera (SF Opera).\u003c/p>\n\u003cp>SF Opera director David Gockley announced the commission of \u003ci>Girls of the Golden West\u003c/i> Tuesday morning, highlighting the fact that the work will feature a libretto from Sellars, who is also directing. \u003c/p>\n\u003cp>The new opera, which is reportedly based on factual events, follows three women living in a small mining town during the Gold Rush of the 1850s, a period in time Adams has called “California’s first bubble.”\u003c/p>\n\u003cp>The story idea came to Sellars while he was researching another project set during the Gold Rush era.\u003c/p>\n\u003cp>“While I was doing research to create a new production of Puccini’s \u003cem>La Fanciulla del West\u003c/em> for a European company, I uncovered a treasure trove of fascinating historical and literary descriptions of accounts from the California Gold Rush, unveiling vivid and fascinating personalities, events and situations,” Sellars said. “These true stories of the forty-niners are overwhelming in their heroism, passion and cruelty, telling tales of racial conflicts, colorful and humorous exploits, political strife and struggles to build anew a life and to decide what it would mean to be American.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adams, a Bay Area resident, and Sellars have worked together on operas that are considered part of the American canon, including \u003ci>Nixon in China\u003c/i> and \u003ci>Doctor Atomic\u003c/i>.\u003c/p>\n\u003cp>“When longtime colleagues John Adams and Peter Sellars approached me with their idea of a new opera set in the period of the California Gold Rush, I was very delighted with the opportunity to present the world premiere here in the city created in large part by the 1849 Gold Rush,” Gockley said. “The invigorating originality of John’s music paired with the inventiveness of Peter’s staging and libretto promise to make this opera an exhilarating new addition to the repertoire.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gockley, who also commissioned \u003ci>Nixon in China\u003c/i> in 1987, is retiring from the SF Opera at the end of the 2015-16 season. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On A Dark Day, the Tonys Double Down on Joy — and Pride",
"headTitle": "On A Dark Day, the Tonys Double Down on Joy — and Pride | KQED",
"content": "\u003cp>\u003cem>My wife’s the reason anything gets done\u003c/em>\u003c/p>\n\u003cp>\u003cem>She nudges me towards promise, by degrees\u003c/em>\u003c/p>\n\u003cp>\u003cem>She is the perfect symphony of one\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our son is her most beautiful reprise\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cem>We chase the melodies that seem to find us \u003c/em>\u003c/p>\n\u003cp>\u003cem>Until they’re finished songs, and start to play\u003c/em>\u003c/p>\n\u003cp>\u003cem>When senseless acts of tragedy remind us\u003c/em>\u003c/p>\n\u003cp>\u003cem>That nothing here is promised, not one day\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>This show is proof that history remembers\u003c/em>\u003c/p>\n\u003cp>\u003cem>We live through times when hate and fear seem stronger\u003c/em>\u003c/p>\n\u003cp>\u003cem>We rise and fall and light from dying embers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Remembrances that hope and love last longer\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>And love is love is love is love is love is love is love is love\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cannot be killed or swept aside\u003c/em>\u003c/p>\n\u003cp>\u003cem>I sing Vanessa’s symphony, Eliza tells her story\u003c/em>\u003c/p>\n\u003cp>\u003cem>Now fill the world with music, love and pride\u003c/em>\u003c/p>\n\u003cp>Thank you so much for this.\u003c/p>\n\u003cp>— Lin-Manuel Miranda, accepting the best score Tony for \u003cem>Hamilton\u003c/em> last night.\u003c/p>\n\u003cp>(For the record, if you’re scoring at home, that “And love is love is love … ” line is when I, and the people with whom I was watching the broadcast, lost it completely.)\u003c/p>\n\u003cp>Yesterday was a day of horror and grief and mourning, and you’d think the last thing on the nation’s mind on such a terrible day would be “Let’s tune into CBS to see people in suits and nice dresses congratulate one another for three hours.”\u003c/p>\n\u003cp>You’d think. But the Tonys are different. (\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/hamilton-wins-11-tonys-but-fails-to-break-record/\" target=\"_blank\" rel=\"noopener\">Here’s the full rundown of last night’s winners\u003c/a>.)\u003c/p>\n\u003cp>The Oscars are about individual achievement, the exaltation of self, the sanctimonious deification of “dreams spun of shadow and light.” The Emmys are about people thanking their managers and network executives. The Grammys are about glamour, or at least glitz. The Golden Globes are about seeing which celebrities can hold their booze.\u003c/p>\n\u003cp>But the Tonys are, and have always been, about community: a small, fiercely determined and hopelessly devoted cohort of show people and those who love them, a safe haven for anyone who has ever felt like an outsider.\u003c/p>\n\u003cp>Or, as Tonys host James Corden put it, acknowledging the mass shooting in Orlando with a direct address to the camera at the top of the broadcast: “Your tragedy is our tragedy. Theater is a place where every race, creed, sexuality and gender is equal, is embraced, and is loved. Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle.”\u003c/p>\n\u003cp>It was awkward but sincere. In that sense it was very like every theater kid who has ever lip-synced to \u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It be Loverly” in his darkened bedroom. Said kid was the ostensible subject of Corden’s “That Could Be Me” opening number, which sent him caroming through a gleeful mashup of Broadway hits, from \u003cem>Les Miserables\u003c/em> to \u003cem>Phantom\u003c/em> to \u003cem>Lion King\u003c/em> to \u003cem>Grease\u003c/em> to \u003cem>Sweeney Todd\u003c/em> to \u003cem>Jesus Christ Superstar\u003c/em> to \u003cem>Sound of Music\u003c/em> to \u003cem>Music Man\u003c/em> to … you get the idea.\u003c/p>\n\u003cp>“To the theater kids from anyplace with stardust in their eyes,” Corden sang, joined onstage by the actor and actress nominees for best performance in a musical, “of every color, class and race and face and shape and size. To the boys and girls and transgenders, too. To every Broadway would-be. Why wonder if this could be you? \u003cem>It absolutely could be.\u003c/em>”\u003c/p>\n\u003cp>What followed was what most predicted: a \u003cem>Hamilton\u003c/em> blowout. The show/cultural phenomenon took home 11 of the 16 Tonys for which it was nominated, including best musical. It didn’t break the 12-Tony record set by \u003cem>The Producers\u003c/em> in 2001, but few expected it to, given that several members of its cast were up for the same awards. Writer/star Lin-Manuel Miranda won for both score and book, but lost best actor in a musical to castmate Leslie Odom Jr.\u003c/p>\n\u003cp>As it always does, the Tonys broadcast served as a three-hour recruitment ad for a life of jazz hands and dance belts. There were good jokes (Corden’s shout-out to the \u003cem>Law and Order\u003c/em> franchise, which for years has supplied the New York theater community with bit parts and steady paychecks) and earnest singing (Carmen Cusack sang the spirited, stripped-down bluegrass opening number from the Steve Martin/Edie Brickell show \u003cem>Bright Star\u003c/em>). There was the requisite color and splash (a number from the Gloria Estefan jukebox musical \u003cem>On Your Feet\u003c/em> featured Estefan herself), and there was good-natured humor (Josh Groban introduced a number from the revival of \u003cem>Fiddler on the Roof\u003c/em> by sheepishly acknowledging a grainy video of himself starring as Tevye in a high school production of the show).\u003c/p>\n\u003cp>Less successful were segments featuring the casts from various shows stepping outside the Beacon Theater to perform before a waiting crowd. Done in homage to the Hamilton cast’s beloved #Ham4Ham practice of performing for those waiting for the ticket lottery, the broadcast’s emulation seemed merely dutiful, as the performers delivered only a single verse from Broadway classics before sending viewers to commercials.\u003c/p>\n\u003cp>As host, Corden was genial and charming. If he lacked the sardonic edge that Neil Patrick Harris brought to the job in the past, it wasn’t missed. No, what was needed yesterday was something more full-throated and uncomplicated. Something simpler and more joyful.\u003c/p>\n\u003cp>And that something was brought, not by Corden, but by Cynthia Erivo, who stars as Celie in an acclaimed revival of \u003cem>The Color Purple\u003c/em>. She won best actress in a musical, and blew the roof off the Beacon Theatre with a performance that concluded with her standing center stage, belting a song of grace and gratitude and, yes, pride, on a day when its message desperately needed to be heard by an audience filled with grieving men and women and Broadway would-bes:\u003c/p>\n\u003cp>\u003cem>But most of all\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m thankful for\u003c/em>\u003c/p>\n\u003cp>\u003cem>Loving who I really am\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003cem>Yes I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>And I’m here\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+A+Dark+Day%2C+The+Tonys+Double+Down+On+Joy+%E2%80%94+And+Pride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>My wife’s the reason anything gets done\u003c/em>\u003c/p>\n\u003cp>\u003cem>She nudges me towards promise, by degrees\u003c/em>\u003c/p>\n\u003cp>\u003cem>She is the perfect symphony of one\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our son is her most beautiful reprise\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cem>We chase the melodies that seem to find us \u003c/em>\u003c/p>\n\u003cp>\u003cem>Until they’re finished songs, and start to play\u003c/em>\u003c/p>\n\u003cp>\u003cem>When senseless acts of tragedy remind us\u003c/em>\u003c/p>\n\u003cp>\u003cem>That nothing here is promised, not one day\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>This show is proof that history remembers\u003c/em>\u003c/p>\n\u003cp>\u003cem>We live through times when hate and fear seem stronger\u003c/em>\u003c/p>\n\u003cp>\u003cem>We rise and fall and light from dying embers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Remembrances that hope and love last longer\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>And love is love is love is love is love is love is love is love\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cannot be killed or swept aside\u003c/em>\u003c/p>\n\u003cp>\u003cem>I sing Vanessa’s symphony, Eliza tells her story\u003c/em>\u003c/p>\n\u003cp>\u003cem>Now fill the world with music, love and pride\u003c/em>\u003c/p>\n\u003cp>Thank you so much for this.\u003c/p>\n\u003cp>— Lin-Manuel Miranda, accepting the best score Tony for \u003cem>Hamilton\u003c/em> last night.\u003c/p>\n\u003cp>(For the record, if you’re scoring at home, that “And love is love is love … ” line is when I, and the people with whom I was watching the broadcast, lost it completely.)\u003c/p>\n\u003cp>Yesterday was a day of horror and grief and mourning, and you’d think the last thing on the nation’s mind on such a terrible day would be “Let’s tune into CBS to see people in suits and nice dresses congratulate one another for three hours.”\u003c/p>\n\u003cp>You’d think. But the Tonys are different. (\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/hamilton-wins-11-tonys-but-fails-to-break-record/\" target=\"_blank\" rel=\"noopener\">Here’s the full rundown of last night’s winners\u003c/a>.)\u003c/p>\n\u003cp>The Oscars are about individual achievement, the exaltation of self, the sanctimonious deification of “dreams spun of shadow and light.” The Emmys are about people thanking their managers and network executives. The Grammys are about glamour, or at least glitz. The Golden Globes are about seeing which celebrities can hold their booze.\u003c/p>\n\u003cp>But the Tonys are, and have always been, about community: a small, fiercely determined and hopelessly devoted cohort of show people and those who love them, a safe haven for anyone who has ever felt like an outsider.\u003c/p>\n\u003cp>Or, as Tonys host James Corden put it, acknowledging the mass shooting in Orlando with a direct address to the camera at the top of the broadcast: “Your tragedy is our tragedy. Theater is a place where every race, creed, sexuality and gender is equal, is embraced, and is loved. Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle.”\u003c/p>\n\u003cp>It was awkward but sincere. In that sense it was very like every theater kid who has ever lip-synced to \u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It be Loverly” in his darkened bedroom. Said kid was the ostensible subject of Corden’s “That Could Be Me” opening number, which sent him caroming through a gleeful mashup of Broadway hits, from \u003cem>Les Miserables\u003c/em> to \u003cem>Phantom\u003c/em> to \u003cem>Lion King\u003c/em> to \u003cem>Grease\u003c/em> to \u003cem>Sweeney Todd\u003c/em> to \u003cem>Jesus Christ Superstar\u003c/em> to \u003cem>Sound of Music\u003c/em> to \u003cem>Music Man\u003c/em> to … you get the idea.\u003c/p>\n\u003cp>“To the theater kids from anyplace with stardust in their eyes,” Corden sang, joined onstage by the actor and actress nominees for best performance in a musical, “of every color, class and race and face and shape and size. To the boys and girls and transgenders, too. To every Broadway would-be. Why wonder if this could be you? \u003cem>It absolutely could be.\u003c/em>”\u003c/p>\n\u003cp>What followed was what most predicted: a \u003cem>Hamilton\u003c/em> blowout. The show/cultural phenomenon took home 11 of the 16 Tonys for which it was nominated, including best musical. It didn’t break the 12-Tony record set by \u003cem>The Producers\u003c/em> in 2001, but few expected it to, given that several members of its cast were up for the same awards. Writer/star Lin-Manuel Miranda won for both score and book, but lost best actor in a musical to castmate Leslie Odom Jr.\u003c/p>\n\u003cp>As it always does, the Tonys broadcast served as a three-hour recruitment ad for a life of jazz hands and dance belts. There were good jokes (Corden’s shout-out to the \u003cem>Law and Order\u003c/em> franchise, which for years has supplied the New York theater community with bit parts and steady paychecks) and earnest singing (Carmen Cusack sang the spirited, stripped-down bluegrass opening number from the Steve Martin/Edie Brickell show \u003cem>Bright Star\u003c/em>). There was the requisite color and splash (a number from the Gloria Estefan jukebox musical \u003cem>On Your Feet\u003c/em> featured Estefan herself), and there was good-natured humor (Josh Groban introduced a number from the revival of \u003cem>Fiddler on the Roof\u003c/em> by sheepishly acknowledging a grainy video of himself starring as Tevye in a high school production of the show).\u003c/p>\n\u003cp>Less successful were segments featuring the casts from various shows stepping outside the Beacon Theater to perform before a waiting crowd. Done in homage to the Hamilton cast’s beloved #Ham4Ham practice of performing for those waiting for the ticket lottery, the broadcast’s emulation seemed merely dutiful, as the performers delivered only a single verse from Broadway classics before sending viewers to commercials.\u003c/p>\n\u003cp>As host, Corden was genial and charming. If he lacked the sardonic edge that Neil Patrick Harris brought to the job in the past, it wasn’t missed. No, what was needed yesterday was something more full-throated and uncomplicated. Something simpler and more joyful.\u003c/p>\n\u003cp>And that something was brought, not by Corden, but by Cynthia Erivo, who stars as Celie in an acclaimed revival of \u003cem>The Color Purple\u003c/em>. She won best actress in a musical, and blew the roof off the Beacon Theatre with a performance that concluded with her standing center stage, belting a song of grace and gratitude and, yes, pride, on a day when its message desperately needed to be heard by an audience filled with grieving men and women and Broadway would-bes:\u003c/p>\n\u003cp>\u003cem>But most of all\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m thankful for\u003c/em>\u003c/p>\n\u003cp>\u003cem>Loving who I really am\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003cem>Yes I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>And I’m here\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+A+Dark+Day%2C+The+Tonys+Double+Down+On+Joy+%E2%80%94+And+Pride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton, won the 2016 Tony Award for best new musical, capping an emotional night in which many in the Broadway community rallied to embrace the LGBT community after a shooting at a gay Florida nightclub.\u003c/p>\n\u003cp>Lin-Manuel Miranda’s musical biography about the first U.S. treasury secretary won 11 Tonys, just short of breaking the 12-Tony record held by \u003cem>The Producers\u003c/em>.\u003c/p>\n\u003cp>Jeffrey Seller, producer of \u003cem>Hamilton\u003c/em>, quoted the show’s lyrics when accepting the best musical crown. “Look around, look around. How lucky we are to be alive right now,” he said.\u003c/p>\n\u003cp>Broadway’s boast of being more diverse than the Oscars was proved, with black actors winning four awards in the acting categories — a history-making sweep of the musical categories — and whites winning the remaining four for plays.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> went into the night with 16 nominations and, in addition to taking the musical award, won best score, best book, direction, orchestration, choreography and best featured actor and actress statuettes for Renee Elise Goldsberry and Daveed Diggs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Watch Oakland’s own Daveed Diggs discuss winning his first Tony award:\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BMjmo3QUaw\u003c/p>\n\u003cp>Leslie Odom Jr., who plays Aaron Burr, won best actor in a musical and cheered Miranda for “a new vision of what’s possible.” He also thanked his wife, actress Nicolette Robinson and his parents.\u003c/p>\n\u003cp>The show earlier won awards for costume and lighting but lost scenic design to \u003cem>She Loves Me\u003c/em>, meaning \u003cem>Hamilton\u003c/em> couldn’t break the record haul by \u003cem>The Producers\u003c/em>. Still, few shows get introduced by a sitting president, as Barack and Michelle Obama did for the performance by the show’s cast.\u003c/p>\n\u003cp>The awards show unspooled with a heavy heart a night after a gunman killed 50 people at a gay Florida nightclub, prompting a Broadway tribute to the victims at the top of the show and a smattering of references to tolerance throughout it.\u003c/p>\n\u003cp>Host James Corden dedicated the night to celebrating the diversity of Broadway. “Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle,” he said.\u003c/p>\n\u003cp>Barbra Streisand returned to the Tony stage for the first time in 46 years and acknowledged the killings. “Tonight our joy is tinged with sorrow but we’re here to celebrate Broadway and the beauty that artistry can bring into this world.” Art, she said, can “at times like these console us.”\u003c/p>\n\u003cp>But for much of the telecast, the mood was light and typical of an awards show.\u003c/p>\n\u003cp>Miranda, the star and creator of \u003cem>Hamilton\u003c/em>, won for best score and book, and during one of his trips to the stage, he read from a sonnet, referencing tragedy and urging “love and love and love….”\u003c/p>\n\u003cp>Thomas Kail won the Tony for directing \u003cem>Hamilton\u003c/em>. He thanked Miranda, a frequent collaborator, and celebrated the diversity of Broadway this season. “Let’s continue to tell stories,” he said.\u003c/p>\n\u003cp>British actress Cynthia Erivo won the best actress award for her Broadway debut in “The Color Purple.” She thanked her cast for “making me a stronger woman on that stage.” Her show, which failed to beat “Jersey Boys” for the best musical Tony Award in 2006, won the best musical revival award in 2016.\u003c/p>\n\u003cp>\u003cem>The Humans\u003c/em>, about a fractious family’s get-together,” was the second most decorated show with four awards, including best new play. Playwright Stephen Karam dedicated his award to all the struggling writers. “Keep the faith,” he said.\u003c/p>\n\u003cp>The play also earned wins to two mainstays of the New York stage — Jayne Houdyshell and her stage husband, Reed Birney. Both won for featured roles.\u003c/p>\n\u003cp>Not all shows had reason to smile. \u003cem>Shuffle Along\u003c/em>, the musical that explores a groundbreaking 95-year-old show, failed to win a single award, although it entered the night with 10 nominations. \u003cem>Eclipsed\u003c/em> and \u003cem>She Loves Me\u003c/em> each won only one statuette; \u003cem>Waitress\u003c/em> went home empty-handed.\u003c/p>\n\u003cp>In response to the shooting Sunday that left at least 50 people dead in a crowded nightclub in Orlando, Florida, “Hamilton” dropped its use of muskets in its performance. Many stars also wore a silver ribbon to show solidarity.\u003c/p>\n\u003cp>The shooting was close to home for Christopher Fitzgerald, who was nominated for his role in \u003cem>Waitress\u003c/em> and went to school in Orlando. “I’m heartbroken. I think everybody is feeling it, so we are at least all coming together to celebrate and not live in fear,” he said on the carpet.\u003c/p>\n\u003cp>Jessica Lange won her first Tony for playing a drug-addled mother in the revival of the monumental \u003cem>Long Day’s Journey Into Night\u003c/em>. The two-time Academy Award winner said: “This is a dream come true and it fills me with such happiness, even on such a sad day as this.”\u003c/p>\n\u003cp>Frank Langella won his fourth Tony for playing a man who has begun his slide into dementia in \u003cem>The Father\u003c/em>. He almost teared up when he mentioned his brother’s struggle with dementia. He also had a message for the people of Orlando: “We will be with you every step of the way.”\u003c/p>\n\u003cp>Dutch visionary Ivo Van Hove won his first Tony for directing an imaginative revival of Arthur Miller’s \u003cem>A View from the Bridge\u003c/em>. Under his helm, the barefoot cast warily circled one another under bright lights in a set that resembled a boxing ring. The show was also named best play revival.\u003c/p>\n\u003cp>The show opened with the cast of \u003cem>Hamilton\u003c/em> performing their opening number with the lyrics altered to have them all wondering why Corden — “chatting with Hollywood phonies” — had earned the honor of hosting the show.\u003c/p>\n\u003cp>The \u003cem>The Late Late Show\u003c/em> host had some quips for the theater-loving audience: “This is like the Super Bowl for people who don’t know what the Super Bowl is,” he said at one point. He later flirted with Oprah Winfrey.\u003c/p>\n\u003cp>Donald Trump was a frequent target. Nathan Lane made a crack about Trump University and Emilio Estefan insisted that his all-Latin cast for “On Your Feet!” were all in the U.S. legally. Corden at one point suggested there were so many diverse performers on the show that the Republican candidate would want to put a wall around the theater. There was also a joke about Trump starring in “The Book of Moron.” To be fair, Glenn Close mocked Hillary Clinton in the fictional show “A Clinton Line.”\u003c/p>\n\u003cp>“Hamilton” and the 38 new productions this season helped Broadway’s attendance figures hit a record high, up 1.6 percent to 13.3 million ticket buyers. The season also was rich in diversity among actors: Fourteen of the 40 Tony nominees for acting in plays and musicals — or 35 percent — were actors of color.\u003c/p>\n\u003cp>The best musical Tony caps a stunning year for \u003cem>Hamilton\u003c/em> that includes Miranda winning the 2016 Pulitzer Prize for drama, a Grammy, the Edward M. Kennedy Prize for Drama Inspired by American History and a MacArthur Foundation “genius” grant.\u003c/p>\n\u003cp>Tony producers will hope its presence on the telecast will stem a three-year slide in viewership. Last year’s telecast — hosted by Alan Cumming and Kristin Chenoweth — was watched by a mere 6.35 million viewers. In 2014, it reached 7.02 million and captured 7.24 million in 2013.\u003c/p>\n\u003cp>\u003ci>Here’s the list of nominees, with the winners highlighted:\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Best Musical\u003c/strong>\u003cbr>\n\u003cem>Bright Star\u003cbr>\n\u003cstrong>Hamilton\u003c/strong>\u003cbr>\nSchool of Rock\u003cbr>\nShuffle Along\u003cbr>\nWaitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Play\u003c/strong>\u003cbr>\n\u003cem>Eclipsed\u003cbr>\nThe Father\u003cbr>\n\u003cstrong>The Humans\u003c/strong>\u003cbr>\nKing Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actress in a Musical\u003c/strong>\u003cbr>\nLaura Benanti, \u003cem>She Loves Me\u003c/em>\u003cbr>\nCarmen Cusack, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Cynthia Erivo, \u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\nJessie Mueller, \u003cem>Waitress\u003c/em>\u003cbr>\nPhillipa Soo, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actor in a Musical\u003c/strong>\u003cbr>\nAlex Brightman, \u003cem>School of Rock\u003c/em>\u003cbr>\nDanny Burnstein, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nZachary Levi, \u003cem>She Loves Me\u003c/em>\u003cbr>\nLin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003cbr>\n\u003cstrong>Leslie Odom, Jr., \u003cem>Hamilton\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Leading Actress in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Jessica Lange, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/strong>\u003cbr>\nLaurie Metcalfe, \u003cem>Misery\u003c/em>\u003cbr>\nLupita Nyong’o, \u003cem>Eclipsed\u003c/em>\u003cbr>\nSophie Okonedo, \u003cem>The Crucible\u003c/em>\u003cbr>\nMichelle Williams, \u003cem>Blackbird\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actor in a Play\u003c/strong>\u003cbr>\nGabriel Byrne, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJeff Daniels, \u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cstrong>Frank Langella, \u003cem>The Father\u003c/em>\u003c/strong>\u003cbr>\nTim Pigott Smith, \u003cem>King Charles III\u003c/em>\u003cbr>\nMark Strong, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003cbr>\nMichael Arden, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJohn Doyle, \u003cem>The Color Purple\u003c/em>\u003cbr>\nScott Ellis, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Thomas Kail, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Play\u003c/strong>\u003cbr>\nRupert Gold, \u003cem>King Charles III\u003c/em>\u003cbr>\nJonathan Kent, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJoe Mantello, \u003cem>The Humans\u003c/em>\u003cbr>\nLiesl Tommy, \u003cem>Eclipsed\u003c/em>\u003cbr>\n\u003cstrong>Ivo Van Hove, \u003cem>A View from the Bridge\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Play\u003c/strong>\u003cbr>\nPascale Armand, \u003cem>Eclipsed\u003c/em>\u003cbr>\nMegan Hilty, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Jayne Houdyshell, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nAndrea Martin, \u003cem>Noises Off\u003c/em>\u003cbr>\nSaycon Sengbloh, \u003cem>Eclipsed\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Daveed Diggs, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nBrandon Victor Dixon, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nChristopher Fitzgerald, \u003cem>Waitress\u003c/em>\u003cbr>\nJonathan Groff, \u003cem>Hamilton\u003c/em>\u003cbr>\nChristopher Jackson, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Musical\u003c/strong>\u003cbr>\nDanielle Brooks, \u003cem>The Color Purple\u003c/em>\u003cbr>\n\u003cstrong>Renee Elise Goldsberry, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJane Krakowski, \u003cem>She Loves Me\u003c/em>\u003cbr>\nJennifer Simard, \u003cem>Disaster!\u003c/em>\u003cbr>\nAdrienne Warren, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Reed Birney, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nBill Camp, \u003cem>The Crucible\u003c/em>\u003cbr>\nDavid Furr, \u003cem>Noises Off\u003c/em>\u003cbr>\nRichard Goulding, \u003cem>King Charles III\u003c/em>\u003cbr>\nMichael Shannon, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Play\u003c/strong>\u003cbr>\n\u003cem>The Crucible\u003c/em>\u003cbr>\n\u003cstrong>\u003cem>A View From the Bridge\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cem>Long Days Journey into Night\u003c/em>\u003cbr>\n\u003cem>Noises Off\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\n\u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cem>Spring Awakening\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Book of a Musical\u003c/strong>\u003cbr>\nSteve Martin, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJulian Fellowes, \u003cem>School of Rock\u003c/em>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nBest Choreography\u003c/strong>\u003cbr>\n\u003cstrong>Andy Blankenbuehler, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nSavion Glover, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nHofesh Shechter, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nRandy Skinner, \u003cem>Dames at Sea\u003c/em>\u003cbr>\nSergio Trujillo, \u003cem>On Your Feet\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Original Score\u003c/strong>\u003cbr>\nSteve Martin, Edie Brickell, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGlenn Sltater, Andrew Lloyd Webber, \u003cem>School of Rock\u003c/em>\u003cbr>\nSara Bareilles, \u003cem>Waitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Orchestrations\u003c/strong>\u003cbr>\nAugust Eriksmoen, \u003cem>Bright Star\u003c/em>\u003cbr>\nLarry Hochman, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Alex Lacamoire, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nDaryl Waters, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Scenic Design of a Musical\u003c/strong>\u003cbr>\nEs Devlin & Finn Ross, \u003cem>American Psycho\u003c/em>\u003cbr>\nDavid Korins, \u003cem>Hamilton\u003c/em>\u003cbr>\nSanto Loquasto, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>David Rockwell, \u003cem>She Loves Me\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Scenic Design of a Play\u003c/strong>\u003cbr>\nBeowulf Boritt, \u003cem>Thérèse Raquin\u003c/em>\u003cbr>\nChristopher Oram, \u003cem>Hughie\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003cbr>\n\u003cstrong>David Zinn, \u003cem>The Humans\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Costume Design of a Musical\u003c/strong>\u003cbr>\nGregg Barnes, \u003cem>Tuck Everlasting\u003c/em>\u003cbr>\nJeff Mahshie, \u003cem>She Loves Me\u003c/em>\u003cbr>\nAnn Roth, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nPaul Tazewell, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Costume Design of a Play\u003c/strong>\u003cbr>\nJane Greenwood, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nMichael Krass, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Clint Ramos, \u003cem>Eclipsed\u003c/em>\u003c/strong>\u003cbr>\nTom Scutt, \u003cem>King Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Lighting Design of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Howell Binkley, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJules Fisher and Peggy Eisenhauer, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nBen Stanton, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>American Psycho\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Lighting Design of a Play\u003c/strong>\u003cbr>\nNatasha Katz, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>The Humans\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>The Crucible\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Julie Walker, Jocelyn Noveck, John Carucci and Leanne Italie in New York contributed to this report.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"excerpt": "The musical biography about one of the nation's followers was one Tony short of beating the record set by 'The Producers' ",
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"title": "'Hamilton' Wins 11 Tonys but Fails to Break Record | KQED",
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"headline": "'Hamilton' Wins 11 Tonys but Fails to Break Record",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton, won the 2016 Tony Award for best new musical, capping an emotional night in which many in the Broadway community rallied to embrace the LGBT community after a shooting at a gay Florida nightclub.\u003c/p>\n\u003cp>Lin-Manuel Miranda’s musical biography about the first U.S. treasury secretary won 11 Tonys, just short of breaking the 12-Tony record held by \u003cem>The Producers\u003c/em>.\u003c/p>\n\u003cp>Jeffrey Seller, producer of \u003cem>Hamilton\u003c/em>, quoted the show’s lyrics when accepting the best musical crown. “Look around, look around. How lucky we are to be alive right now,” he said.\u003c/p>\n\u003cp>Broadway’s boast of being more diverse than the Oscars was proved, with black actors winning four awards in the acting categories — a history-making sweep of the musical categories — and whites winning the remaining four for plays.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> went into the night with 16 nominations and, in addition to taking the musical award, won best score, best book, direction, orchestration, choreography and best featured actor and actress statuettes for Renee Elise Goldsberry and Daveed Diggs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch Oakland’s own Daveed Diggs discuss winning his first Tony award:\u003c/i>\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/_BMjmo3QUaw'\n title='//www.youtube.com/embed/_BMjmo3QUaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Leslie Odom Jr., who plays Aaron Burr, won best actor in a musical and cheered Miranda for “a new vision of what’s possible.” He also thanked his wife, actress Nicolette Robinson and his parents.\u003c/p>\n\u003cp>The show earlier won awards for costume and lighting but lost scenic design to \u003cem>She Loves Me\u003c/em>, meaning \u003cem>Hamilton\u003c/em> couldn’t break the record haul by \u003cem>The Producers\u003c/em>. Still, few shows get introduced by a sitting president, as Barack and Michelle Obama did for the performance by the show’s cast.\u003c/p>\n\u003cp>The awards show unspooled with a heavy heart a night after a gunman killed 50 people at a gay Florida nightclub, prompting a Broadway tribute to the victims at the top of the show and a smattering of references to tolerance throughout it.\u003c/p>\n\u003cp>Host James Corden dedicated the night to celebrating the diversity of Broadway. “Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle,” he said.\u003c/p>\n\u003cp>Barbra Streisand returned to the Tony stage for the first time in 46 years and acknowledged the killings. “Tonight our joy is tinged with sorrow but we’re here to celebrate Broadway and the beauty that artistry can bring into this world.” Art, she said, can “at times like these console us.”\u003c/p>\n\u003cp>But for much of the telecast, the mood was light and typical of an awards show.\u003c/p>\n\u003cp>Miranda, the star and creator of \u003cem>Hamilton\u003c/em>, won for best score and book, and during one of his trips to the stage, he read from a sonnet, referencing tragedy and urging “love and love and love….”\u003c/p>\n\u003cp>Thomas Kail won the Tony for directing \u003cem>Hamilton\u003c/em>. He thanked Miranda, a frequent collaborator, and celebrated the diversity of Broadway this season. “Let’s continue to tell stories,” he said.\u003c/p>\n\u003cp>British actress Cynthia Erivo won the best actress award for her Broadway debut in “The Color Purple.” She thanked her cast for “making me a stronger woman on that stage.” Her show, which failed to beat “Jersey Boys” for the best musical Tony Award in 2006, won the best musical revival award in 2016.\u003c/p>\n\u003cp>\u003cem>The Humans\u003c/em>, about a fractious family’s get-together,” was the second most decorated show with four awards, including best new play. Playwright Stephen Karam dedicated his award to all the struggling writers. “Keep the faith,” he said.\u003c/p>\n\u003cp>The play also earned wins to two mainstays of the New York stage — Jayne Houdyshell and her stage husband, Reed Birney. Both won for featured roles.\u003c/p>\n\u003cp>Not all shows had reason to smile. \u003cem>Shuffle Along\u003c/em>, the musical that explores a groundbreaking 95-year-old show, failed to win a single award, although it entered the night with 10 nominations. \u003cem>Eclipsed\u003c/em> and \u003cem>She Loves Me\u003c/em> each won only one statuette; \u003cem>Waitress\u003c/em> went home empty-handed.\u003c/p>\n\u003cp>In response to the shooting Sunday that left at least 50 people dead in a crowded nightclub in Orlando, Florida, “Hamilton” dropped its use of muskets in its performance. Many stars also wore a silver ribbon to show solidarity.\u003c/p>\n\u003cp>The shooting was close to home for Christopher Fitzgerald, who was nominated for his role in \u003cem>Waitress\u003c/em> and went to school in Orlando. “I’m heartbroken. I think everybody is feeling it, so we are at least all coming together to celebrate and not live in fear,” he said on the carpet.\u003c/p>\n\u003cp>Jessica Lange won her first Tony for playing a drug-addled mother in the revival of the monumental \u003cem>Long Day’s Journey Into Night\u003c/em>. The two-time Academy Award winner said: “This is a dream come true and it fills me with such happiness, even on such a sad day as this.”\u003c/p>\n\u003cp>Frank Langella won his fourth Tony for playing a man who has begun his slide into dementia in \u003cem>The Father\u003c/em>. He almost teared up when he mentioned his brother’s struggle with dementia. He also had a message for the people of Orlando: “We will be with you every step of the way.”\u003c/p>\n\u003cp>Dutch visionary Ivo Van Hove won his first Tony for directing an imaginative revival of Arthur Miller’s \u003cem>A View from the Bridge\u003c/em>. Under his helm, the barefoot cast warily circled one another under bright lights in a set that resembled a boxing ring. The show was also named best play revival.\u003c/p>\n\u003cp>The show opened with the cast of \u003cem>Hamilton\u003c/em> performing their opening number with the lyrics altered to have them all wondering why Corden — “chatting with Hollywood phonies” — had earned the honor of hosting the show.\u003c/p>\n\u003cp>The \u003cem>The Late Late Show\u003c/em> host had some quips for the theater-loving audience: “This is like the Super Bowl for people who don’t know what the Super Bowl is,” he said at one point. He later flirted with Oprah Winfrey.\u003c/p>\n\u003cp>Donald Trump was a frequent target. Nathan Lane made a crack about Trump University and Emilio Estefan insisted that his all-Latin cast for “On Your Feet!” were all in the U.S. legally. Corden at one point suggested there were so many diverse performers on the show that the Republican candidate would want to put a wall around the theater. There was also a joke about Trump starring in “The Book of Moron.” To be fair, Glenn Close mocked Hillary Clinton in the fictional show “A Clinton Line.”\u003c/p>\n\u003cp>“Hamilton” and the 38 new productions this season helped Broadway’s attendance figures hit a record high, up 1.6 percent to 13.3 million ticket buyers. The season also was rich in diversity among actors: Fourteen of the 40 Tony nominees for acting in plays and musicals — or 35 percent — were actors of color.\u003c/p>\n\u003cp>The best musical Tony caps a stunning year for \u003cem>Hamilton\u003c/em> that includes Miranda winning the 2016 Pulitzer Prize for drama, a Grammy, the Edward M. Kennedy Prize for Drama Inspired by American History and a MacArthur Foundation “genius” grant.\u003c/p>\n\u003cp>Tony producers will hope its presence on the telecast will stem a three-year slide in viewership. Last year’s telecast — hosted by Alan Cumming and Kristin Chenoweth — was watched by a mere 6.35 million viewers. 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Wolfe, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Play\u003c/strong>\u003cbr>\nRupert Gold, \u003cem>King Charles III\u003c/em>\u003cbr>\nJonathan Kent, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJoe Mantello, \u003cem>The Humans\u003c/em>\u003cbr>\nLiesl Tommy, \u003cem>Eclipsed\u003c/em>\u003cbr>\n\u003cstrong>Ivo Van Hove, \u003cem>A View from the Bridge\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Play\u003c/strong>\u003cbr>\nPascale Armand, \u003cem>Eclipsed\u003c/em>\u003cbr>\nMegan Hilty, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Jayne Houdyshell, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nAndrea Martin, \u003cem>Noises Off\u003c/em>\u003cbr>\nSaycon Sengbloh, \u003cem>Eclipsed\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Daveed Diggs, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nBrandon Victor Dixon, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nChristopher Fitzgerald, \u003cem>Waitress\u003c/em>\u003cbr>\nJonathan Groff, \u003cem>Hamilton\u003c/em>\u003cbr>\nChristopher Jackson, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Musical\u003c/strong>\u003cbr>\nDanielle Brooks, \u003cem>The Color Purple\u003c/em>\u003cbr>\n\u003cstrong>Renee Elise Goldsberry, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJane Krakowski, \u003cem>She Loves Me\u003c/em>\u003cbr>\nJennifer Simard, \u003cem>Disaster!\u003c/em>\u003cbr>\nAdrienne Warren, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Reed Birney, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nBill Camp, \u003cem>The Crucible\u003c/em>\u003cbr>\nDavid Furr, \u003cem>Noises Off\u003c/em>\u003cbr>\nRichard Goulding, \u003cem>King Charles III\u003c/em>\u003cbr>\nMichael Shannon, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Play\u003c/strong>\u003cbr>\n\u003cem>The Crucible\u003c/em>\u003cbr>\n\u003cstrong>\u003cem>A View From the Bridge\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cem>Long Days Journey into Night\u003c/em>\u003cbr>\n\u003cem>Noises Off\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\n\u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cem>Spring Awakening\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Book of a Musical\u003c/strong>\u003cbr>\nSteve Martin, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJulian Fellowes, \u003cem>School of Rock\u003c/em>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nBest Choreography\u003c/strong>\u003cbr>\n\u003cstrong>Andy Blankenbuehler, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nSavion Glover, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nHofesh Shechter, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nRandy Skinner, \u003cem>Dames at Sea\u003c/em>\u003cbr>\nSergio Trujillo, \u003cem>On Your Feet\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Original Score\u003c/strong>\u003cbr>\nSteve Martin, Edie Brickell, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGlenn Sltater, Andrew Lloyd Webber, \u003cem>School of Rock\u003c/em>\u003cbr>\nSara Bareilles, \u003cem>Waitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Orchestrations\u003c/strong>\u003cbr>\nAugust Eriksmoen, \u003cem>Bright Star\u003c/em>\u003cbr>\nLarry Hochman, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Alex Lacamoire, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nDaryl Waters, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Scenic Design of a Musical\u003c/strong>\u003cbr>\nEs Devlin & Finn Ross, \u003cem>American Psycho\u003c/em>\u003cbr>\nDavid Korins, \u003cem>Hamilton\u003c/em>\u003cbr>\nSanto Loquasto, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>David Rockwell, \u003cem>She Loves Me\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Scenic Design of a Play\u003c/strong>\u003cbr>\nBeowulf Boritt, \u003cem>Thérèse Raquin\u003c/em>\u003cbr>\nChristopher Oram, \u003cem>Hughie\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003cbr>\n\u003cstrong>David Zinn, \u003cem>The Humans\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Costume Design of a Musical\u003c/strong>\u003cbr>\nGregg Barnes, \u003cem>Tuck Everlasting\u003c/em>\u003cbr>\nJeff Mahshie, \u003cem>She Loves Me\u003c/em>\u003cbr>\nAnn Roth, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nPaul Tazewell, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Costume Design of a Play\u003c/strong>\u003cbr>\nJane Greenwood, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nMichael Krass, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Clint Ramos, \u003cem>Eclipsed\u003c/em>\u003c/strong>\u003cbr>\nTom Scutt, \u003cem>King Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Lighting Design of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Howell Binkley, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJules Fisher and Peggy Eisenhauer, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nBen Stanton, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>American Psycho\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Lighting Design of a Play\u003c/strong>\u003cbr>\nNatasha Katz, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>The Humans\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>The Crucible\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Julie Walker, Jocelyn Noveck, John Carucci and Leanne Italie in New York contributed to this report.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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