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"title": "Shotgun Players' 'The Village Bike' is a Reckless, Obscene, Wild Ride",
"headTitle": "Shotgun Players’ ‘The Village Bike’ is a Reckless, Obscene, Wild Ride | KQED",
"content": "\u003cp>Like many contemporary plays, British dramatist Penelope Skinner’s \u003cem>The Village Bike\u003c/em> begins with a situation and a not very promising one at that. The just-pregnant schoolteacher Becky (Elissa Stebbins) has made plans to buy a used bike. In a truly odd marital spat, Becky’s husband, John (Nick Medina), who is going off to Amsterdam for an anti-aging conference, would prefer that his wife take up a different sport. He thinks yoga is the proper exercise for the newly-pregnant. And if she gets a bike, he would like for her to buy one from a shop of his choosing, and not from a man whose wife is out of town while he’s out of town.\u003c/p>\n\u003cfigure id=\"attachment_11656172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11656172 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-800x489.jpg\" alt=\"John (Nick Medina) would rather build baby toys than pay attention to his wife in 'The Village Bike.'\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-1180x721.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568.jpg 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John (Nick Medina) would rather build baby toys than pay attention to his wife in ‘The Village Bike.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s conversation is awkward and has vaguely sexual overtones without actually being sexual. John has unusual concerns about used bikes. “You don’t know where it’s been,” he says, “Who’s been on it.” Becky responds that the wife of the man selling the bike has, and what would it matter anyway? John counters with a haughty, “So he says.” And we, along with Becky, are taken aback. In what world would a man, or anyone, do something to a bike that would make it unfit to ride? Is this a new kind of terrorism of the bourgeois class?\u003c/p>\n\u003cp>It all feels sketchy and on the level of a one-joke \u003cem>Saturday Night Live\u003c/em> skit. When the plumbing in the couple’s fixer-upper house groans emphatically, repeatedly — and with one of the worst off stage sound effects I’ve ever heard — John insists that he doesn’t want Becky to think he’s ignoring the pipes. Then she pops out of the bathroom in a new, silky nightie and he predictably shows little interest. We knew \u003cem>that\u003c/em> was going to happen: sexually clueless husbands have been a theater staple since the Romans, and it has the desired — or one might say, undesired — effect of sleazy, unarticulated porn.\u003c/p>\n\u003cp>Nina Ball’s set doesn’t seem to help the situation, with its slap-dash quality reminiscent of mid-70’s soap operas that’s provisional and overly concerned with realistic effects. Yes, there’s running water in the kitchen faucet, but functionality isn’t an aesthetic achievement. Ray Oppenheimer’s lighting seems off, too, as if the designer couldn’t settle on a consistent thought or mood. And the acting is unsure, along with the British accents. You think this can’t last, that the show will fall to pieces, and yet somehow \u003ca href=\"http://shotgunplayers.org/Online/Villagebike\">Shotgun Players’ production\u003c/a> triumphs under Patrick Dooley’s sly direction.\u003c/p>\n\u003cfigure id=\"attachment_11656174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11656174 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-800x489.jpg\" alt=\"(L to R) Alice (Meagan Trout), Oliver (Kevin Clarke), Becky (Elissa Stebbins), John (Nick Medina), Jenny (El Bey), and Mike (David Sinaiko) in full soap opera mode in 'The Village Bike.'\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-400x245.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-1180x722.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-960x587.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Alice (Meagan Trout), Oliver (Kevin Clarke), Becky (Elissa Stebbins), John (Nick Medina), Jenny (El Bey), and Mike (David Sinaiko) in full soap opera mode in ‘The Village Bike.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s because both the production and play are relentless. Skinner keeps pushing forwards with a lovely core message — \u003cem>live for your desires\u003c/em> — and Shotgun’s team embraces that ideal right through their mistakes. Here, every vice becomes a virtue, a minor miracle that shouldn’t happen. Like her callow heroine, the dramatist doesn’t seem to care how we get there, only that we do. In both art and life, that kind of reckless commitment is thrilling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Becky, that means sex, either with her husband or any man who might show up — including the recently widowed plumber, Mike (David Sinaiko), who’s come to fix her pipes. Yes: \u003cem>who’s come to fix her pipes. \u003c/em>Skinner can really lay it on thick. And the one joke of the play — that everything begins, ends, and begins with sex — starts to expand in strange and subtle ways.\u003c/p>\n\u003cp>Becky’s scenes with John’s slightly older, chummy friend Jenny (in an unbalanced, ridiculous, game, and eventually winning performance by El Bey) are especially startling. Saddled with two kids and an absent, distant husband, Jenny plays the voice of reason, the consoling matron of experience to Becky’s unfocused and wild naïf.\u003c/p>\n\u003cp>But in Skinner’s world, experience has nothing on desire. Desire confounds and obliterates without even trying. Jenny visits Becky right after she’s had sex with Mike. Becky’s in pain; she might have had a miscarriage. Oblivious to basic standards of decorum, Becky fingers herself to check for blood in front of Jenny and Mike. Yet, despite all that, it is Jenny who ends up scared and abashed, running away and blathering that she must be “stupid.”\u003c/p>\n\u003cfigure id=\"attachment_11656171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11656171 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-800x527.jpg\" alt=\"(L to R) Jenny (El Bey) is shocked again and again by Becky (Elissa Stebbins) in 'The Village Bike.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-960x633.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Jenny (El Bey) is shocked again and again by Becky (Elissa Stebbins) in ‘The Village Bike.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Becky is an overwhelming force, a strange mélange of listlessness and Neitzschean will to power. She disrupts everyone, even the amoral, sadistic Oliver (Kevin Clarke), who sells her his wife’s bike and then gives her so much more than a good, fast ride. The beauty of Skinner’s vision is that Becky can’t help it: by giving into whom and what she is, she grinds everyone around her to dust. Oliver, who knows his way around vile behavior, is honestly terrified by her feelings.\u003c/p>\n\u003cp>Shotgun’s cast takes the same tact. The actors abandon themselves to pure feeling, no matter how ugly. After the first hour, I gave into their crazy energy, and by the second, they had me floating alongside Skinner’s wild rhythms and U-turns. If you have to choose between acting that’s technically perfect and acting that makes you pay attention, well, I know my choice.\u003c/p>\n\u003cfigure id=\"attachment_11656170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11656170 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-800x535.jpg\" alt=\"Becky (Elissa Stebbins) struggles to stay happy in 'The Village Bike.'\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979.jpg 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Becky (Elissa Stebbins) struggles to stay happy in ‘The Village Bike.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Becky, Stebbins is masterful at playing the moment. The actress seems to have no idea where she’s going, as if she forgot the ending of the play. Watch her at the end of her scenes. She looks disoriented, as if someone just punched her hard in the face. You feel not only that the play matters to this talented actress, but also that it’s changing her as she performs it. Though the same could be said of the whole cast, especially Clarke, Sinaiko, and Medina. All of them seem off at times, and yet they make this confounding and stunning play sing.\u003c/p>\n\u003cp>Of course, the overall effect has a lot to do with Skinner’s writing, which is shifty and alive. It follows the brutal logic of sexual desire in an obvious way, and yet is completely surprising. So what’s the point of all of this? I’m happy to report that I don’t believe Skinner has one or even tries. She just lets everything be, and that’s a proper gift.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://shotgunplayers.org/Online/villagebike\" target=\"_blank\" rel=\"noopener\">Shotgun Players’\u003cem> The Village Bike\u003c/em>\u003c/a> runs through Sunday, Jul. 3 at Ashby Stage in Berkeley. For tickets and information please go to www.shotgunplayers.org\u003c/strong>\u003c/p>\n\n",
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"excerpt": "In Penelope Skinner's provocative drama, a schoolteacher \"gets her pipes fixed\", and the one joke of the play -- that everything begins, ends, and begins with sex -- starts to expand in strange and subtle ways",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many contemporary plays, British dramatist Penelope Skinner’s \u003cem>The Village Bike\u003c/em> begins with a situation and a not very promising one at that. The just-pregnant schoolteacher Becky (Elissa Stebbins) has made plans to buy a used bike. In a truly odd marital spat, Becky’s husband, John (Nick Medina), who is going off to Amsterdam for an anti-aging conference, would prefer that his wife take up a different sport. He thinks yoga is the proper exercise for the newly-pregnant. And if she gets a bike, he would like for her to buy one from a shop of his choosing, and not from a man whose wife is out of town while he’s out of town.\u003c/p>\n\u003cfigure id=\"attachment_11656172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11656172 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-800x489.jpg\" alt=\"John (Nick Medina) would rather build baby toys than pay attention to his wife in 'The Village Bike.'\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-1180x721.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB3-e1465333873568.jpg 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John (Nick Medina) would rather build baby toys than pay attention to his wife in ‘The Village Bike.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s conversation is awkward and has vaguely sexual overtones without actually being sexual. John has unusual concerns about used bikes. “You don’t know where it’s been,” he says, “Who’s been on it.” Becky responds that the wife of the man selling the bike has, and what would it matter anyway? John counters with a haughty, “So he says.” And we, along with Becky, are taken aback. In what world would a man, or anyone, do something to a bike that would make it unfit to ride? Is this a new kind of terrorism of the bourgeois class?\u003c/p>\n\u003cp>It all feels sketchy and on the level of a one-joke \u003cem>Saturday Night Live\u003c/em> skit. When the plumbing in the couple’s fixer-upper house groans emphatically, repeatedly — and with one of the worst off stage sound effects I’ve ever heard — John insists that he doesn’t want Becky to think he’s ignoring the pipes. Then she pops out of the bathroom in a new, silky nightie and he predictably shows little interest. We knew \u003cem>that\u003c/em> was going to happen: sexually clueless husbands have been a theater staple since the Romans, and it has the desired — or one might say, undesired — effect of sleazy, unarticulated porn.\u003c/p>\n\u003cp>Nina Ball’s set doesn’t seem to help the situation, with its slap-dash quality reminiscent of mid-70’s soap operas that’s provisional and overly concerned with realistic effects. Yes, there’s running water in the kitchen faucet, but functionality isn’t an aesthetic achievement. Ray Oppenheimer’s lighting seems off, too, as if the designer couldn’t settle on a consistent thought or mood. And the acting is unsure, along with the British accents. You think this can’t last, that the show will fall to pieces, and yet somehow \u003ca href=\"http://shotgunplayers.org/Online/Villagebike\">Shotgun Players’ production\u003c/a> triumphs under Patrick Dooley’s sly direction.\u003c/p>\n\u003cfigure id=\"attachment_11656174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11656174 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-800x489.jpg\" alt=\"(L to R) Alice (Meagan Trout), Oliver (Kevin Clarke), Becky (Elissa Stebbins), John (Nick Medina), Jenny (El Bey), and Mike (David Sinaiko) in full soap opera mode in 'The Village Bike.'\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-400x245.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-1180x722.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299-960x587.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB7-e1465333780299.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Alice (Meagan Trout), Oliver (Kevin Clarke), Becky (Elissa Stebbins), John (Nick Medina), Jenny (El Bey), and Mike (David Sinaiko) in full soap opera mode in ‘The Village Bike.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s because both the production and play are relentless. Skinner keeps pushing forwards with a lovely core message — \u003cem>live for your desires\u003c/em> — and Shotgun’s team embraces that ideal right through their mistakes. Here, every vice becomes a virtue, a minor miracle that shouldn’t happen. Like her callow heroine, the dramatist doesn’t seem to care how we get there, only that we do. In both art and life, that kind of reckless commitment is thrilling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Becky, that means sex, either with her husband or any man who might show up — including the recently widowed plumber, Mike (David Sinaiko), who’s come to fix her pipes. Yes: \u003cem>who’s come to fix her pipes. \u003c/em>Skinner can really lay it on thick. And the one joke of the play — that everything begins, ends, and begins with sex — starts to expand in strange and subtle ways.\u003c/p>\n\u003cp>Becky’s scenes with John’s slightly older, chummy friend Jenny (in an unbalanced, ridiculous, game, and eventually winning performance by El Bey) are especially startling. Saddled with two kids and an absent, distant husband, Jenny plays the voice of reason, the consoling matron of experience to Becky’s unfocused and wild naïf.\u003c/p>\n\u003cp>But in Skinner’s world, experience has nothing on desire. Desire confounds and obliterates without even trying. Jenny visits Becky right after she’s had sex with Mike. Becky’s in pain; she might have had a miscarriage. Oblivious to basic standards of decorum, Becky fingers herself to check for blood in front of Jenny and Mike. Yet, despite all that, it is Jenny who ends up scared and abashed, running away and blathering that she must be “stupid.”\u003c/p>\n\u003cfigure id=\"attachment_11656171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11656171 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-800x527.jpg\" alt=\"(L to R) Jenny (El Bey) is shocked again and again by Becky (Elissa Stebbins) in 'The Village Bike.'\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540-960x633.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB4-e1465333960540.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Jenny (El Bey) is shocked again and again by Becky (Elissa Stebbins) in ‘The Village Bike.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Becky is an overwhelming force, a strange mélange of listlessness and Neitzschean will to power. She disrupts everyone, even the amoral, sadistic Oliver (Kevin Clarke), who sells her his wife’s bike and then gives her so much more than a good, fast ride. The beauty of Skinner’s vision is that Becky can’t help it: by giving into whom and what she is, she grinds everyone around her to dust. Oliver, who knows his way around vile behavior, is honestly terrified by her feelings.\u003c/p>\n\u003cp>Shotgun’s cast takes the same tact. The actors abandon themselves to pure feeling, no matter how ugly. After the first hour, I gave into their crazy energy, and by the second, they had me floating alongside Skinner’s wild rhythms and U-turns. If you have to choose between acting that’s technically perfect and acting that makes you pay attention, well, I know my choice.\u003c/p>\n\u003cfigure id=\"attachment_11656170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11656170 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-800x535.jpg\" alt=\"Becky (Elissa Stebbins) struggles to stay happy in 'The Village Bike.'\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/VB2-e1465334007979.jpg 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Becky (Elissa Stebbins) struggles to stay happy in ‘The Village Bike.’ \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Becky, Stebbins is masterful at playing the moment. The actress seems to have no idea where she’s going, as if she forgot the ending of the play. Watch her at the end of her scenes. She looks disoriented, as if someone just punched her hard in the face. You feel not only that the play matters to this talented actress, but also that it’s changing her as she performs it. Though the same could be said of the whole cast, especially Clarke, Sinaiko, and Medina. All of them seem off at times, and yet they make this confounding and stunning play sing.\u003c/p>\n\u003cp>Of course, the overall effect has a lot to do with Skinner’s writing, which is shifty and alive. It follows the brutal logic of sexual desire in an obvious way, and yet is completely surprising. So what’s the point of all of this? I’m happy to report that I don’t believe Skinner has one or even tries. She just lets everything be, and that’s a proper gift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://shotgunplayers.org/Online/villagebike\" target=\"_blank\" rel=\"noopener\">Shotgun Players’\u003cem> The Village Bike\u003c/em>\u003c/a> runs through Sunday, Jul. 3 at Ashby Stage in Berkeley. For tickets and information please go to www.shotgunplayers.org\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Actors Channel Michael Jackson and Greta Garbo in Cal Shakes' 'Much Ado'",
"headTitle": "Actors Channel Michael Jackson and Greta Garbo in Cal Shakes’ ‘Much Ado’ | KQED",
"content": "\u003cp>Over the past two months I’ve seen three wonderful Shakespeare productions: Shotgun Players’ you-don’t-know-who-is-going-to-play-what-role \u003cem>Hamlet\u003c/em>, Unnatural Deeds’ \u003cem>Macbeth — \u003c/em>a sharp, imaginative, shoestring production that was performed in a West Oakland garage for only five shows — and now a \u003cem>Much Ado About Nothing \u003c/em>from \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DD950D7D-BE97-471D-B780-7EDB556DED0E\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> that burrows with a soft, gentle step into the roughest aspects of love.\u003c/p>\n\u003cp>Cal Shakes’ \u003cem>Much Ado\u003c/em> is the first production under new artistic director Eric Ting and is smartly and trickily adapted by writer Kenneth Lin and director Jackson Gay. Their take on Shakespeare’s beloved dark comedy is set in a kind of backstage — behind the scenes at a wedding — and focuses on the hired help looking to have some fun during the moments they’re off duty. There are dishwashers, waiters and waitresses, a foreman, and a vain fop of a wedding singer.\u003c/p>\n\u003cfigure id=\"attachment_11638275\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-800x534.jpg\" alt=\"(L to R) Beatrice (James Carpenter) accepts a fake flower from Benedick (Stacy Ross) in Cal Shakes' production of 'Much Ado About Nothing.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beatrice (James Carpenter) accepts a fake flower from Benedick (Stacy Ross) in Cal Shakes’ production of ‘Much Ado About Nothing.’ Photo: Alessandro Mello \u003ccite>(Alessandro Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We soon realize that these people have been silent witnesses and participants — the extras, the modern day spear-carriers — to the double weddings of Beatrice and Benedick and Claudio and Hero that end \u003cem>Much Ado\u003c/em>. While cleaning up during the tail end of the party, these temporary workers start to recount what happened, basically the story of the play, and then just casually start to take on and act out the roles.\u003c/p>\n\u003cp>The provisional, haphazard quality from which they begin fits the play well. \u003cem>Much\u003c/em> \u003cem>Ado\u003c/em> starts in a tense lull: Don Pedro and his men have been at war and seek calm and refuge at Leonato’s estate. Shakespeare gives us both the state of leisure and unrest that all the characters are trying to navigate. They understand that they are freer than they’ve been. And yet they’re also scarred, distrustful of any kind of real future, and, by implication, the possibilities of love. This, more than anything, is what the sparring lovers Beatrice and Benedick must overcome: a state of war that continues to infect all those it touches.\u003c/p>\n\u003cp>Stacy Ross’s Benedick is as strange and magnetic a performance as you are likely to get this year. Dressed as a man, in a tight, striped jacket and floppy hair, she resembles, moves, and behaves like Michael Jackson. People forget that the pop music icon was once considered a can’t-miss movie star — a stranger, more electric Fred Astaire. I used to imagine him as Lear’s Fool, Ariel, Mercutio, Puck. All the offbeat Shakespeare characters, but never the romantic, leading man.\u003c/p>\n\u003cfigure id=\"attachment_11638272\" class=\"wp-caption aligncenter\" style=\"max-width: 401px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11638272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Muchsingingross-401x600.jpg\" alt=\"Benedick (Stacy Ross) sings in joy in Cal Shakes' 'Much Ado About Nothing.'\" width=\"401\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-401x600.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-788x1180.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-1920x2876.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-960x1438.jpg 960w\" sizes=\"(max-width: 401px) 100vw, 401px\">\u003cfigcaption class=\"wp-caption-text\">Benedick (Stacy Ross) sings for joy in Cal Shakes’ ‘Much Ado About Nothing.’ Photo: Alessandro Mello \u003ccite>(Photo: Allessandro Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet, Ross, channeling Jackson, is perfect. (I can’t believe that this isn’t intentional; I mean look at her in the above production still.) The precision and sharpness of the actress’s movements — like Jackson’s dancing — tells us so much about Benedick. When he hides within a batch of flowers, Ross snatches them in one violent grab and then holds still in painful silence. It’s wonderful and silly, and yet we understand that this is a man riven by contradictory impulses that he can neither control nor understand. It’s comic, but also awful and human.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Better yet, after Beatrice’s cousin Hero is brutally set up and abused on her wedding day, there’s Ross’s Benedick, frozen, his body ramrod straight, with one arm unfurled towards the grieving Hero as Beatrice ministers to her. (Jackson makes a similar move in the video for “Smooth Criminal”). It is as if Benedick is saying “I will stay in this pose of care until all is made right.” It’s a beautiful performance — a complex choreography of swoops, dashes, and attempts at stillness. It is everything we might have imagined Jackson bringing to Shakespeare.\u003c/p>\n\u003cp>Yet, \u003cem>Much Ado\u003c/em> is a play of balance. Everything happens in doubles: two couples, two plots, two cousins, two brothers named Don. There’s even a false double that ends all the dissembling in happy accord. So our Beatrice must be as great as our Benedick, and longtime Bay Area actor James Carpenter delivers a performance equal to, and, most importantly, in a different key than Ross’s. His is more grand Hollywood, a let-them-come-to-me Greta Garbo, all allure and presence.\u003c/p>\n\u003cp>Ross prances around the stage, but Carpenter barely moves. Ross’s line readings are poly-rhythmic, where Carpenter’s are crisp and measured. This is a careful Beatrice, wary and alert to the dangers of the world and her own heart. Her famous wit is in full force, and yet Carpenter makes us see how necessary that wit is to her survival. It’s not a character trait, but rather a canny response to a complex and uncertain situation. Carpenter makes us understand that his Beatrice is stunning and cool not because she wants to be, but because she has to be.\u003c/p>\n\u003cp>\u003cem>Much Ado\u003c/em> might be about slight misunderstandings, but Ross and Carpenter show us how savage those slight misunderstandings can be. Loving someone is always a leap of faith, especially in a world of constant misperceptions. By watching them have to act — Ross is not a man and Carpenter is not only not a woman but also at least 30 years older than the character he plays — they plunge us into every duplicity that \u003cem>Much Ado\u003c/em> has to offer.\u003c/p>\n\u003cfigure id=\"attachment_11638283\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638283\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Muchtry2-800x534.jpg\" alt=\"(L to R) Beatrice (James Carpenter) agonizes over Hero's downfall, while Benedick (Stacy Ross) offers comfort in Cal Shakes' 'Much Ado About Nothing.' Photo: Alessandro Mello\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beatrice (James Carpenter) agonizes over Hero’s downfall, while Benedick (Stacy Ross) offers comfort in Cal Shakes’ ‘Much Ado About Nothing.’ Photo: Alessandro Mello\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>California Shakespeare Theater’s \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DD950D7D-BE97-471D-B780-7EDB556DED0E\" target=\"_blank\" rel=\"noopener\">\u003cem>Much Ado About Nothing\u003c/em>\u003c/a> plays through Sunday, Jun. 19 at the Bruns Amphitheater in Orinda. \u003c/strong>\u003cstrong>For tickets and information go to www.calshakes.org\u003c/strong>\u003c/p>\n\n",
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"excerpt": "Stacy Ross and James Carpenter bring star power as lovers Benedick and Beatrice in this gender-fluid production of Shakespeare's dark comedy ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past two months I’ve seen three wonderful Shakespeare productions: Shotgun Players’ you-don’t-know-who-is-going-to-play-what-role \u003cem>Hamlet\u003c/em>, Unnatural Deeds’ \u003cem>Macbeth — \u003c/em>a sharp, imaginative, shoestring production that was performed in a West Oakland garage for only five shows — and now a \u003cem>Much Ado About Nothing \u003c/em>from \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DD950D7D-BE97-471D-B780-7EDB556DED0E\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> that burrows with a soft, gentle step into the roughest aspects of love.\u003c/p>\n\u003cp>Cal Shakes’ \u003cem>Much Ado\u003c/em> is the first production under new artistic director Eric Ting and is smartly and trickily adapted by writer Kenneth Lin and director Jackson Gay. Their take on Shakespeare’s beloved dark comedy is set in a kind of backstage — behind the scenes at a wedding — and focuses on the hired help looking to have some fun during the moments they’re off duty. There are dishwashers, waiters and waitresses, a foreman, and a vain fop of a wedding singer.\u003c/p>\n\u003cfigure id=\"attachment_11638275\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-800x534.jpg\" alt=\"(L to R) Beatrice (James Carpenter) accepts a fake flower from Benedick (Stacy Ross) in Cal Shakes' production of 'Much Ado About Nothing.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsilentwedding-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beatrice (James Carpenter) accepts a fake flower from Benedick (Stacy Ross) in Cal Shakes’ production of ‘Much Ado About Nothing.’ Photo: Alessandro Mello \u003ccite>(Alessandro Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We soon realize that these people have been silent witnesses and participants — the extras, the modern day spear-carriers — to the double weddings of Beatrice and Benedick and Claudio and Hero that end \u003cem>Much Ado\u003c/em>. While cleaning up during the tail end of the party, these temporary workers start to recount what happened, basically the story of the play, and then just casually start to take on and act out the roles.\u003c/p>\n\u003cp>The provisional, haphazard quality from which they begin fits the play well. \u003cem>Much\u003c/em> \u003cem>Ado\u003c/em> starts in a tense lull: Don Pedro and his men have been at war and seek calm and refuge at Leonato’s estate. Shakespeare gives us both the state of leisure and unrest that all the characters are trying to navigate. They understand that they are freer than they’ve been. And yet they’re also scarred, distrustful of any kind of real future, and, by implication, the possibilities of love. This, more than anything, is what the sparring lovers Beatrice and Benedick must overcome: a state of war that continues to infect all those it touches.\u003c/p>\n\u003cp>Stacy Ross’s Benedick is as strange and magnetic a performance as you are likely to get this year. Dressed as a man, in a tight, striped jacket and floppy hair, she resembles, moves, and behaves like Michael Jackson. People forget that the pop music icon was once considered a can’t-miss movie star — a stranger, more electric Fred Astaire. I used to imagine him as Lear’s Fool, Ariel, Mercutio, Puck. All the offbeat Shakespeare characters, but never the romantic, leading man.\u003c/p>\n\u003cfigure id=\"attachment_11638272\" class=\"wp-caption aligncenter\" style=\"max-width: 401px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11638272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Muchsingingross-401x600.jpg\" alt=\"Benedick (Stacy Ross) sings in joy in Cal Shakes' 'Much Ado About Nothing.'\" width=\"401\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-401x600.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-788x1180.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-1920x2876.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchsingingross-960x1438.jpg 960w\" sizes=\"(max-width: 401px) 100vw, 401px\">\u003cfigcaption class=\"wp-caption-text\">Benedick (Stacy Ross) sings for joy in Cal Shakes’ ‘Much Ado About Nothing.’ Photo: Alessandro Mello \u003ccite>(Photo: Allessandro Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet, Ross, channeling Jackson, is perfect. (I can’t believe that this isn’t intentional; I mean look at her in the above production still.) The precision and sharpness of the actress’s movements — like Jackson’s dancing — tells us so much about Benedick. When he hides within a batch of flowers, Ross snatches them in one violent grab and then holds still in painful silence. It’s wonderful and silly, and yet we understand that this is a man riven by contradictory impulses that he can neither control nor understand. It’s comic, but also awful and human.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Better yet, after Beatrice’s cousin Hero is brutally set up and abused on her wedding day, there’s Ross’s Benedick, frozen, his body ramrod straight, with one arm unfurled towards the grieving Hero as Beatrice ministers to her. (Jackson makes a similar move in the video for “Smooth Criminal”). It is as if Benedick is saying “I will stay in this pose of care until all is made right.” It’s a beautiful performance — a complex choreography of swoops, dashes, and attempts at stillness. It is everything we might have imagined Jackson bringing to Shakespeare.\u003c/p>\n\u003cp>Yet, \u003cem>Much Ado\u003c/em> is a play of balance. Everything happens in doubles: two couples, two plots, two cousins, two brothers named Don. There’s even a false double that ends all the dissembling in happy accord. So our Beatrice must be as great as our Benedick, and longtime Bay Area actor James Carpenter delivers a performance equal to, and, most importantly, in a different key than Ross’s. His is more grand Hollywood, a let-them-come-to-me Greta Garbo, all allure and presence.\u003c/p>\n\u003cp>Ross prances around the stage, but Carpenter barely moves. Ross’s line readings are poly-rhythmic, where Carpenter’s are crisp and measured. This is a careful Beatrice, wary and alert to the dangers of the world and her own heart. Her famous wit is in full force, and yet Carpenter makes us see how necessary that wit is to her survival. It’s not a character trait, but rather a canny response to a complex and uncertain situation. Carpenter makes us understand that his Beatrice is stunning and cool not because she wants to be, but because she has to be.\u003c/p>\n\u003cp>\u003cem>Much Ado\u003c/em> might be about slight misunderstandings, but Ross and Carpenter show us how savage those slight misunderstandings can be. Loving someone is always a leap of faith, especially in a world of constant misperceptions. By watching them have to act — Ross is not a man and Carpenter is not only not a woman but also at least 30 years older than the character he plays — they plunge us into every duplicity that \u003cem>Much Ado\u003c/em> has to offer.\u003c/p>\n\u003cfigure id=\"attachment_11638283\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638283\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Muchtry2-800x534.jpg\" alt=\"(L to R) Beatrice (James Carpenter) agonizes over Hero's downfall, while Benedick (Stacy Ross) offers comfort in Cal Shakes' 'Much Ado About Nothing.' Photo: Alessandro Mello\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Muchtry2-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beatrice (James Carpenter) agonizes over Hero’s downfall, while Benedick (Stacy Ross) offers comfort in Cal Shakes’ ‘Much Ado About Nothing.’ Photo: Alessandro Mello\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>California Shakespeare Theater’s \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DD950D7D-BE97-471D-B780-7EDB556DED0E\" target=\"_blank\" rel=\"noopener\">\u003cem>Much Ado About Nothing\u003c/em>\u003c/a> plays through Sunday, Jun. 19 at the Bruns Amphitheater in Orinda. \u003c/strong>\u003cstrong>For tickets and information go to www.calshakes.org\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "pirouettes-in-the-sun-summer-dance-performances-you-cant-miss",
"title": "Pirouettes in the Sun: Summer Dance Performances You Can't Miss",
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"headTitle": "Pirouettes in the Sun: Summer Dance Performances You Can’t Miss | KQED",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11638282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Summer: It’s time for t-shirts and flip-flops and strolling through festivals. And while the traditional dance season is formally over, an extraordinary variety of live dance performances continue unabated in the Bay Area through the summer. While a few familiar names and classic works pop up, you’ll run into many new faces and new ideas of what dance could be. So, for those needing some adventure in their lives, might I suggest having a summer fling with dance, and if the affair doesn’t last, bury your disappointment in the sand and surf, or in the mists atop Mount Tam.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636461\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636461\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-760x600.jpg\" alt=\"Dewa Ayu Dewi Larassanti, Gamelan Sekar Jaya (Photo: RJ Muna)\" width=\"760\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-760x600.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-1180x931.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-1920x1515.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-960x757.jpg 960w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Dewa Ayu Dewi Larassanti, Gamelan Sekar Jaya (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>The 38th Annual San Francisco Ethnic Dance Festival\u003c/h3>\n\u003ch5>June 3 – 19\u003cbr>\nPalace of Fine Arts, San Francisco & San Francisco City Hall\u003cbr>\n\u003ca href=\"http://worldartswest.org/main/home.asp\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Of the 32 troupes brought together this year to celebrate the crazy quilt that is San Francisco, 12 are brand new, covering a range of traditions from Senegalese to Tajik, Korean, Spanish flamenco, Afro-Nicaraguan, and more. The dozen world premières include a new Egyptian belly dance, Mexican folkloric works, a Scottish traditional dance, South African Zulu, Xhosa and Migrant works, and American regional social dances. Three different programs are on offer on three successive weekends. Think of it as speed dating the world’s dance cultures.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636462\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636462\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-800x435.jpg\" alt=\"Smuin Ballet in the world première of Helen Pickett's ‘Oasis’ (Photo: Keith Sutter)\" width=\"800\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-1180x641.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-1920x1043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-960x522.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smuin Ballet in the world première of Helen Pickett’s ‘Oasis’ (Photo: Keith Sutter)\u003c/figcaption>\u003c/figure>\n\u003ch3>Smuin Ballet\u003c/h3>\n\u003ch5>June 3, San Mateo Performing Arts Center, San Mateo\u003cbr>\nJune 10, Sunset Center, Carmel\u003cbr>\n\u003ca href=\"http://www.smuinballet.org/buy-tickets-for-the-20152016-season/dance-series-two/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you missed this exuberant company in their latest triple bill in San Francisco, you can still catch them in San Mateo and Carmel. \u003cem>Oasis\u003c/em>, a world première by Helen Pickett – who bestowed the lush, mesmerizing \u003cem>Petal\u003c/em> on the company in 2013 – was inspired by a film on California’s water shortage. It is accompanied by Jiří Kylián’s profoundly moving \u003cem>Return to a Strange Land\u003c/em>, and Val Caniparoli’s \u003cem>Tutto Eccetto il Lavandino (Everything but the Kitchen Sink)\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636463\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636463\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-800x533.jpg\" alt=\"James Graham and Patrick Barnes in Hope Mohr's 'Stay' (Photo: Margo Moritz)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Graham and Patrick Barnes in Hope Mohr’s ‘Stay’ (Photo: Margo Moritz)\u003c/figcaption>\u003c/figure>\n\u003ch3>Hope Mohr Dance\u003c/h3>\n\u003ch5>June 9 – 11\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://odcdance.org/performance.php?param=318\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>\u003cem>Manifesting\u003c/em>, a new dance theater work inspired by art manifestos, anchors Hope Mohr Dance’s (HMD) ninth home season. It’s paired with the reprise of \u003cem>Stay\u003c/em>, Hope Mohr’s reaction in dance to the paintings of Francis Bacon. Mohr frequently asks knotty questions about the point and process of making dance, and the results can be abstruse. But she invariably creates arresting images with her crackerjack dancers.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636464\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-mediun wp-image-11636464\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sean_Dorsey_Dance_2016FRESHMEATFESTIVAL_photo_LydiaDaniller-500x333.jpg\" alt=\"Sean Dorsey Dance at the 2016 Fresh Meat Festival (Photo: Lydia Daniller)\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sean_Dorsey_Dance_2016FRESHMEATFESTIVAL_photo_LydiaDaniller-500x333.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sean_Dorsey_Dance_2016FRESHMEATFESTIVAL_photo_LydiaDaniller-500x333-400x266.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance at the 2016 Fresh Meat Festival (Photo: Lydia Daniller)\u003c/figcaption>\u003c/figure>\n\u003ch3>Fresh Meat Festival\u003c/h3>\n\u003ch5>June 16 – 18\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://freshmeatproductions.org/fresh-meat-festival-2016/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Of the 15th year of organizing this festival of transgender, gender-bending, and queer artists, Sean Dorsey says, “We’re really out to break the rules this year.” The trailblazing lineup includes his own modern dance company, Sean Dorsey Dance, World Champion queer bachata duo Jahaira Fajardo and Angelica Medina, acclaimed trans opera singer Breanna Sinclairé, Nā Lei Hulu I Ka Wēkiu contemporary hula company (under the direction of rule-breaking, openly gay Patrick Makuakāne), and physically integrated AXIS Dance Company. Folks travel from afar to attend, attracted not just by the top-drawer talent, but also the legendary after-parties with DJ Miz Rowdy that occur nightly.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636466\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636466\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-800x533.jpg\" alt=\"Garrett Anderson and Adrienne Lipson in Penny Saunders’ ‘Joe and Ida’ for SFDanceworks (Photo: Alex Reneff-Olson)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garrett Anderson and Adrienne Lipson in Penny Saunders’ ‘Joe and Ida’ for SFDanceworks (Photo: Alex Reneff-Olson)\u003c/figcaption>\u003c/figure>\n\u003ch3>SFDanceworks\u003c/h3>\n\u003ch5>June 23 – 25\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfdanceworks.org\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>The versatile, much-in-demand San Francisco Ballet soloist James Sofranko has worked with many of the great choreographers of our time. A piece of his own devising, the elegant and poignant \u003cem>Means to an End\u003c/em>, was most recently polished and dispatched by San Francisco Ballet School trainees at their annual showcase. Somehow Sofranko has found time amid all this to launch a new chamber ballet company. In its first outing, SFDanceworks will feature three world premières by Sofranko, Penny Saunders of Hubbard Street Dance and Dana Genshaft, former SFB soloist. The Adagio from Lar Lubovitch’s \u003cem>Concerto Six Twenty-Two\u003c/em> (one of the all-time great male duets) and Alejandro Cerrudo’s \u003cem>Lickety Split\u003c/em> complete the program.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636467\" class=\"wp-caption alignleft\" style=\"max-width: 399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636467\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-399x600.jpg\" alt=\"Joe Landini (Photo: Lynne Fried)\" width=\"399\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-785x1180.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-1920x2885.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-1180x1773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-960x1443.jpg 960w\" sizes=\"(max-width: 399px) 100vw, 399px\">\u003cfigcaption class=\"wp-caption-text\">Joe Landini (Photo: Lynne Fried)\u003c/figcaption>\u003c/figure>\n\u003ch3>9th annual Summer Performance Festival (SPF9)\u003c/h3>\n\u003ch5>July 6 – 10\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://safehousearts.info/spf9/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Take the pulse of new Bay Area dance at Summer Performance Festival (SPF) – curated by Joe Landini of SAFEhouse Arts, a year-round incubator for emerging dance artists. Ten programs over five days, each running about 45 minutes, showcase 17 solo and ensemble performances. Expect to be challenged by a broad swath of movement philosophies, aesthetic sensibilities, and notions of theater. Of note this season: Joe Landini himself returns to the stage as a dancer for the first time in over a decade, in a collaboration with Amy Lewis on a solo about his personal experiences in San Francisco’s South of Market neighborhood. The rest of the lineup includes Alma Esperanza Cunningham Movement, Alyce Finwall Dance Theater, Brannigan/Eisen, Joann Selisker, Joslynn Mathis Reed, ka·nei·see/collective, Lucia August/Everybody Can Dance and many others.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636469\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636469\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-773x600.jpg\" alt=\"James Gilmer of Amy Seiwert's Imagery (Photo: David DeSilva)\" width=\"773\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-773x600.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-1180x915.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-1920x1489.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-960x745.jpg 960w\" sizes=\"(max-width: 773px) 100vw, 773px\">\u003cfigcaption class=\"wp-caption-text\">James Gilmer of Amy Seiwert’s Imagery (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003ch3>SKETCH 6 | Use Your Words\u003c/h3>\n\u003ch5>July 8 – 10\u003cbr>\nCowell Theatre, Fort Mason, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sketch-6-use-your-words/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>SKETCH is a lab for trying new things in contemporary ballet, brought to life by the enviable dancers of Amy Seiwert’s Imagery. Each season is architected around a different theme. SKETCH 6 brings together three generations of Bay Area choreographers who will wrestle with the written word. Val Caniparoli, Amy Seiwert and newcomer Nicole Haskins of Smuin Ballet are in the hot seat this year.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11638423\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-400x225.jpg\" alt=\"Jackie McConnell in Robert Dekkers' 'Do Be'\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11638423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp.jpg 1762w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jackie McConnell in Robert Dekkers’ ‘Do Be’ \u003ccite>(Photo: Natalia Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Post:Ballet and The Living Earth Show | Do Be\u003c/h3>\n\u003ch5>Aug 4 – 6\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://www.postballet.org/dobe/\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>Individual episodes of the fanciful \u003cem>Do Be\u003c/em>, a meditation on Western society’s bias toward “doing” rather than “being,” have been performed over the past three years of its gestation. Choreographer Robert Dekkers never seems to visit the same place twice. But now that the full work is stitched together, will some common threads emerge? Post:Ballet’s fearless dancers are all classically trained but they throw furniture around most unclassically. Working with a commissioned score, electric guitarist Travis Andrews and percussionist Andy Meyerson (together, The Living Earth Show) aid and abet the madcap enterprise.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636566\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636566\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/GoingSolo-800x533.jpg\" alt='Brandon \"Private\" Freeman in K.T. Nelson’s ‘Going Solo’ (Photo: Amy Thompson Photography)' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandon “Private” Freeman in K.T. Nelson’s ‘Going Solo’ (Photo: Amy Thompson Photography)\u003c/figcaption>\u003c/figure>\n\u003ch3>ODC Summer Dance Sampler\u003c/h3>\n\u003ch5>July 21 – 23\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"https://www.odcdance.org/performance.php?param=4\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\n\u003c/h5>\u003cp>ODC/Dance reprises Brenda Way’s quirky spin on social conventions of a bygone era in \u003cem>Waving Not Drowning\u003c/em>, and K.T. Nelson’s tribute to the dashing Brandon “Private” Freeman (\u003cem>Going Solo\u003c/em>).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636598\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-800x450.jpg\" alt=\"Frankie Lee Peterson III and William Fowler in Gregory Dawson’s ‘d quadrato’ (Photo: Alan Kimara Dixon)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Lee Peterson III and William Fowler in Gregory Dawson’s ‘d quadrato’ (Photo: Alan Kimara Dixon)\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Choreographers Festival: Summer Edition\u003c/h3>\n\u003ch5>Aug. 26 – 28\u003cbr>\nLaney College Odell Johnson Theater, Oakland\u003cbr>\n\u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>Gregory Dawson, whose gripping \u003cem>d quadrato\u003c/em> was a highlight of the Black Choreographers Festival’s (BCF) February 2016 program, will be premiering a new work this summer. Other confirmed artists as of press time include Pat Taylor (JazzAntiqua Dance & Music Ensemble), Chris Evans, Latanya Tigner and Colette Eloi (Dimensions Dance Theater), Dimensions Extensions Performance Ensemble, Culture Shock Oakland, The Village Dancers, festival organizer Kendra Barnes (The Kendra Kimbrough Dance Ensemble), and artists from the BCF Artists’ Mentorship Program.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636599\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636599\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-800x533.jpg\" alt=\"Monique Jenkinson in ‘Delicate Material’ (Photo: Yvonne Portra)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monique Jenkinson in ‘Delicate Material’ (Photo: Yvonne Portra)\u003c/figcaption>\u003c/figure>\n\u003ch3>ODC Theater Unplugged: Monique Jenkinson\u003c/h3>\n\u003ch5>Aug. 28\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfarts.org/event.cfm?Event_Num=67549\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>In the male-dominated world of drag, Monique Jenkinson – aka Fauxnique – is a bewitching anomaly: a woman. This summer, catch excerpts from her \u003cem>Delicate Material\u003c/em>, a work-in-progress slated to premiere at ODC in 2017. Expect this formidable performer to tackle thorny matters of femininity and misogyny with trenchant wit.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "While the traditional dance season is formally over, an extraordinary variety of live dance performances continue unabated in the Bay Area through the summer.",
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"title": "Pirouettes in the Sun: Summer Dance Performances You Can't Miss | KQED",
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"headline": "Pirouettes in the Sun: Summer Dance Performances You Can't Miss",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11638282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Summer: It’s time for t-shirts and flip-flops and strolling through festivals. And while the traditional dance season is formally over, an extraordinary variety of live dance performances continue unabated in the Bay Area through the summer. While a few familiar names and classic works pop up, you’ll run into many new faces and new ideas of what dance could be. So, for those needing some adventure in their lives, might I suggest having a summer fling with dance, and if the affair doesn’t last, bury your disappointment in the sand and surf, or in the mists atop Mount Tam.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636461\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636461\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-760x600.jpg\" alt=\"Dewa Ayu Dewi Larassanti, Gamelan Sekar Jaya (Photo: RJ Muna)\" width=\"760\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-760x600.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-1180x931.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-1920x1515.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/EDF16_GSJ_0796_7x5-960x757.jpg 960w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Dewa Ayu Dewi Larassanti, Gamelan Sekar Jaya (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>The 38th Annual San Francisco Ethnic Dance Festival\u003c/h3>\n\u003ch5>June 3 – 19\u003cbr>\nPalace of Fine Arts, San Francisco & San Francisco City Hall\u003cbr>\n\u003ca href=\"http://worldartswest.org/main/home.asp\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Of the 32 troupes brought together this year to celebrate the crazy quilt that is San Francisco, 12 are brand new, covering a range of traditions from Senegalese to Tajik, Korean, Spanish flamenco, Afro-Nicaraguan, and more. The dozen world premières include a new Egyptian belly dance, Mexican folkloric works, a Scottish traditional dance, South African Zulu, Xhosa and Migrant works, and American regional social dances. Three different programs are on offer on three successive weekends. Think of it as speed dating the world’s dance cultures.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636462\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636462\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-800x435.jpg\" alt=\"Smuin Ballet in the world première of Helen Pickett's ‘Oasis’ (Photo: Keith Sutter)\" width=\"800\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-1180x641.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-1920x1043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Smuin_Oasis_6_Keith-Sutter-960x522.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smuin Ballet in the world première of Helen Pickett’s ‘Oasis’ (Photo: Keith Sutter)\u003c/figcaption>\u003c/figure>\n\u003ch3>Smuin Ballet\u003c/h3>\n\u003ch5>June 3, San Mateo Performing Arts Center, San Mateo\u003cbr>\nJune 10, Sunset Center, Carmel\u003cbr>\n\u003ca href=\"http://www.smuinballet.org/buy-tickets-for-the-20152016-season/dance-series-two/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you missed this exuberant company in their latest triple bill in San Francisco, you can still catch them in San Mateo and Carmel. \u003cem>Oasis\u003c/em>, a world première by Helen Pickett – who bestowed the lush, mesmerizing \u003cem>Petal\u003c/em> on the company in 2013 – was inspired by a film on California’s water shortage. It is accompanied by Jiří Kylián’s profoundly moving \u003cem>Return to a Strange Land\u003c/em>, and Val Caniparoli’s \u003cem>Tutto Eccetto il Lavandino (Everything but the Kitchen Sink)\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636463\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636463\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-800x533.jpg\" alt=\"James Graham and Patrick Barnes in Hope Mohr's 'Stay' (Photo: Margo Moritz)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hope-Mohr-Dance.-James-Graham-and-Patrick-Barnes-in-Stay.-Photo-by-Margo-Moritz-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Graham and Patrick Barnes in Hope Mohr’s ‘Stay’ (Photo: Margo Moritz)\u003c/figcaption>\u003c/figure>\n\u003ch3>Hope Mohr Dance\u003c/h3>\n\u003ch5>June 9 – 11\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://odcdance.org/performance.php?param=318\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>\u003cem>Manifesting\u003c/em>, a new dance theater work inspired by art manifestos, anchors Hope Mohr Dance’s (HMD) ninth home season. It’s paired with the reprise of \u003cem>Stay\u003c/em>, Hope Mohr’s reaction in dance to the paintings of Francis Bacon. Mohr frequently asks knotty questions about the point and process of making dance, and the results can be abstruse. But she invariably creates arresting images with her crackerjack dancers.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636464\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-mediun wp-image-11636464\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sean_Dorsey_Dance_2016FRESHMEATFESTIVAL_photo_LydiaDaniller-500x333.jpg\" alt=\"Sean Dorsey Dance at the 2016 Fresh Meat Festival (Photo: Lydia Daniller)\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sean_Dorsey_Dance_2016FRESHMEATFESTIVAL_photo_LydiaDaniller-500x333.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sean_Dorsey_Dance_2016FRESHMEATFESTIVAL_photo_LydiaDaniller-500x333-400x266.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance at the 2016 Fresh Meat Festival (Photo: Lydia Daniller)\u003c/figcaption>\u003c/figure>\n\u003ch3>Fresh Meat Festival\u003c/h3>\n\u003ch5>June 16 – 18\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://freshmeatproductions.org/fresh-meat-festival-2016/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Of the 15th year of organizing this festival of transgender, gender-bending, and queer artists, Sean Dorsey says, “We’re really out to break the rules this year.” The trailblazing lineup includes his own modern dance company, Sean Dorsey Dance, World Champion queer bachata duo Jahaira Fajardo and Angelica Medina, acclaimed trans opera singer Breanna Sinclairé, Nā Lei Hulu I Ka Wēkiu contemporary hula company (under the direction of rule-breaking, openly gay Patrick Makuakāne), and physically integrated AXIS Dance Company. Folks travel from afar to attend, attracted not just by the top-drawer talent, but also the legendary after-parties with DJ Miz Rowdy that occur nightly.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636466\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636466\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-800x533.jpg\" alt=\"Garrett Anderson and Adrienne Lipson in Penny Saunders’ ‘Joe and Ida’ for SFDanceworks (Photo: Alex Reneff-Olson)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFDanceworks.-Garrett-Anderson-Adrienne-Lipson-in-Joe-Ida.-Choreographer-Penny-Saunders.-Photo-by-Alex-Reneff-Olson-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garrett Anderson and Adrienne Lipson in Penny Saunders’ ‘Joe and Ida’ for SFDanceworks (Photo: Alex Reneff-Olson)\u003c/figcaption>\u003c/figure>\n\u003ch3>SFDanceworks\u003c/h3>\n\u003ch5>June 23 – 25\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfdanceworks.org\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>The versatile, much-in-demand San Francisco Ballet soloist James Sofranko has worked with many of the great choreographers of our time. A piece of his own devising, the elegant and poignant \u003cem>Means to an End\u003c/em>, was most recently polished and dispatched by San Francisco Ballet School trainees at their annual showcase. Somehow Sofranko has found time amid all this to launch a new chamber ballet company. In its first outing, SFDanceworks will feature three world premières by Sofranko, Penny Saunders of Hubbard Street Dance and Dana Genshaft, former SFB soloist. The Adagio from Lar Lubovitch’s \u003cem>Concerto Six Twenty-Two\u003c/em> (one of the all-time great male duets) and Alejandro Cerrudo’s \u003cem>Lickety Split\u003c/em> complete the program.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636467\" class=\"wp-caption alignleft\" style=\"max-width: 399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636467\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-399x600.jpg\" alt=\"Joe Landini (Photo: Lynne Fried)\" width=\"399\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-785x1180.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-1920x2885.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-1180x1773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/01-Joe-Landini.-Photo-by-Lynne-Fried-960x1443.jpg 960w\" sizes=\"(max-width: 399px) 100vw, 399px\">\u003cfigcaption class=\"wp-caption-text\">Joe Landini (Photo: Lynne Fried)\u003c/figcaption>\u003c/figure>\n\u003ch3>9th annual Summer Performance Festival (SPF9)\u003c/h3>\n\u003ch5>July 6 – 10\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://safehousearts.info/spf9/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Take the pulse of new Bay Area dance at Summer Performance Festival (SPF) – curated by Joe Landini of SAFEhouse Arts, a year-round incubator for emerging dance artists. Ten programs over five days, each running about 45 minutes, showcase 17 solo and ensemble performances. Expect to be challenged by a broad swath of movement philosophies, aesthetic sensibilities, and notions of theater. Of note this season: Joe Landini himself returns to the stage as a dancer for the first time in over a decade, in a collaboration with Amy Lewis on a solo about his personal experiences in San Francisco’s South of Market neighborhood. The rest of the lineup includes Alma Esperanza Cunningham Movement, Alyce Finwall Dance Theater, Brannigan/Eisen, Joann Selisker, Joslynn Mathis Reed, ka·nei·see/collective, Lucia August/Everybody Can Dance and many others.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636469\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636469\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-773x600.jpg\" alt=\"James Gilmer of Amy Seiwert's Imagery (Photo: David DeSilva)\" width=\"773\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-773x600.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-1180x915.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-1920x1489.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/James-Gilmer-photo-by-David-DeSilva-1-960x745.jpg 960w\" sizes=\"(max-width: 773px) 100vw, 773px\">\u003cfigcaption class=\"wp-caption-text\">James Gilmer of Amy Seiwert’s Imagery (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003ch3>SKETCH 6 | Use Your Words\u003c/h3>\n\u003ch5>July 8 – 10\u003cbr>\nCowell Theatre, Fort Mason, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/sketch-6-use-your-words/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>SKETCH is a lab for trying new things in contemporary ballet, brought to life by the enviable dancers of Amy Seiwert’s Imagery. Each season is architected around a different theme. SKETCH 6 brings together three generations of Bay Area choreographers who will wrestle with the written word. Val Caniparoli, Amy Seiwert and newcomer Nicole Haskins of Smuin Ballet are in the hot seat this year.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11638423\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-400x225.jpg\" alt=\"Jackie McConnell in Robert Dekkers' 'Do Be'\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-11638423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Do-Be-picCROp.jpg 1762w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jackie McConnell in Robert Dekkers’ ‘Do Be’ \u003ccite>(Photo: Natalia Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Post:Ballet and The Living Earth Show | Do Be\u003c/h3>\n\u003ch5>Aug 4 – 6\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://www.postballet.org/dobe/\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>Individual episodes of the fanciful \u003cem>Do Be\u003c/em>, a meditation on Western society’s bias toward “doing” rather than “being,” have been performed over the past three years of its gestation. Choreographer Robert Dekkers never seems to visit the same place twice. But now that the full work is stitched together, will some common threads emerge? Post:Ballet’s fearless dancers are all classically trained but they throw furniture around most unclassically. Working with a commissioned score, electric guitarist Travis Andrews and percussionist Andy Meyerson (together, The Living Earth Show) aid and abet the madcap enterprise.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636566\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636566\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/GoingSolo-800x533.jpg\" alt='Brandon \"Private\" Freeman in K.T. Nelson’s ‘Going Solo’ (Photo: Amy Thompson Photography)' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/GoingSolo-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandon “Private” Freeman in K.T. Nelson’s ‘Going Solo’ (Photo: Amy Thompson Photography)\u003c/figcaption>\u003c/figure>\n\u003ch3>ODC Summer Dance Sampler\u003c/h3>\n\u003ch5>July 21 – 23\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"https://www.odcdance.org/performance.php?param=4\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\n\u003c/h5>\u003cp>ODC/Dance reprises Brenda Way’s quirky spin on social conventions of a bygone era in \u003cem>Waving Not Drowning\u003c/em>, and K.T. Nelson’s tribute to the dashing Brandon “Private” Freeman (\u003cem>Going Solo\u003c/em>).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636598\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-800x450.jpg\" alt=\"Frankie Lee Peterson III and William Fowler in Gregory Dawson’s ‘d quadrato’ (Photo: Alan Kimara Dixon)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/03-dawsondancesf.-Frankie-Lee-Peterson-III-William-Fowler-in-d-quadrato.-Photo-by-Alan-Kimara-Dixon.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Lee Peterson III and William Fowler in Gregory Dawson’s ‘d quadrato’ (Photo: Alan Kimara Dixon)\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Choreographers Festival: Summer Edition\u003c/h3>\n\u003ch5>Aug. 26 – 28\u003cbr>\nLaney College Odell Johnson Theater, Oakland\u003cbr>\n\u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>Gregory Dawson, whose gripping \u003cem>d quadrato\u003c/em> was a highlight of the Black Choreographers Festival’s (BCF) February 2016 program, will be premiering a new work this summer. Other confirmed artists as of press time include Pat Taylor (JazzAntiqua Dance & Music Ensemble), Chris Evans, Latanya Tigner and Colette Eloi (Dimensions Dance Theater), Dimensions Extensions Performance Ensemble, Culture Shock Oakland, The Village Dancers, festival organizer Kendra Barnes (The Kendra Kimbrough Dance Ensemble), and artists from the BCF Artists’ Mentorship Program.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11636599\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11636599\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-800x533.jpg\" alt=\"Monique Jenkinson in ‘Delicate Material’ (Photo: Yvonne Portra)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Monique-Jenkinson.-Delicate-Material.-Photo-by-Yvonne-Portra-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monique Jenkinson in ‘Delicate Material’ (Photo: Yvonne Portra)\u003c/figcaption>\u003c/figure>\n\u003ch3>ODC Theater Unplugged: Monique Jenkinson\u003c/h3>\n\u003ch5>Aug. 28\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfarts.org/event.cfm?Event_Num=67549\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>In the male-dominated world of drag, Monique Jenkinson – aka Fauxnique – is a bewitching anomaly: a woman. This summer, catch excerpts from her \u003cem>Delicate Material\u003c/em>, a work-in-progress slated to premiere at ODC in 2017. Expect this formidable performer to tackle thorny matters of femininity and misogyny with trenchant wit.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jessica Thom has \u003ca href=\"http://tourette.org/Medical/whatists_cov.html\" target=\"_blank\" rel=\"noopener\">Tourette Syndrome\u003c/a>. Words like “biscuit” and “hedgehog” involuntarily cascade from her mouth. Her hands reflexively pound her chest.\u003c/p>\n\u003cp>And she’s found a way to convert her condition into a superpower.\u003c/p>\n\u003cp>As “Touretteshero,” a costumed warrior equipped with fantastical verbiage and a shiny blue and white suit, the British performance artist and comedian channels her tics into art.\u003c/p>\n\u003cp>“Touretteshero was a creative response to living with Tourette’s,” Thom said in a recent phone interview from New York, where she had just launched the North American tour of her show, \u003ca href=\"http://www.touretteshero.com/category/events/\" target=\"_blank\" rel=\"noopener\">\u003cem>Backstage in Biscuit Land\u003c/em>\u003c/a>. “I wanted to reclaim the laughter surrounding the condition and challenge misconceptions in a creative way.”\u003c/p>\n\u003cp>In \u003cem>Biscuit Land\u003c/em> (the title of which references the performer’s impulse to say the word “biscuit” thousands of times a day) Thom tells the story of her life and her journey with Tourette’s through comedy, puppetry, song — and tics. “My unusual neurology means I have superpowers,” Thom said. “I can collide strange ideas to create surreal, new concepts.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Touretteshero - The Showreel\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/l76QSSDY31E?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 artist has come to see her her tics as a creative asset — “a crazy language generation machine.” As such, her shows are full of unpredictable yet arresting imagery and wordplay. On opening night in New York two weeks ago, for instance, Thom’s tics were busy channeling celebrities. The performer has no personal recollection of the stars she mentioned while on stage. “I’m afraid I have to focus on the show so I try not to pay attention to specific tics,” she said.\u003c/p>\n\u003cp>But fellow company member Matthew Pountney has better powers of recall. “You talked about Donald Trump rifling through Chopin’s mother’s sock drawer,” Pountney said, referring to a character in the show played by puppeteer and performer Jess Mabel Jones, aka Chopin.\u003c/p>\n\u003cp>\u003cem>Biscuit Land\u003c/em> was a huge hit at the 2014 \u003ca href=\"https://tickets.edfringe.com/\" target=\"_blank\" rel=\"noopener\">Edinburgh Fringe Festival \u003c/a>(the world’s biggest alternative performing arts event) and is now being seen in the U.S. at major venues in New York, Toronto and Los Angeles in addition to its run in the Bay Area as part of this year’s \u003ca href=\"http://www.sfiaf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco International Arts Festival\u003c/a>. The tour coincides with \u003ca href=\"http://tourette.org/news/aheadlines.html\" target=\"_blank\" rel=\"noopener\">Tourette Awareness Month\u003c/a> here in the U.S.\u003c/p>\n\u003cp>But the theater has not always been welcoming to Thom. One time when she was sitting in the audience at a show, she was asked to move to the venue’s sound booth because of her tics. “It was humiliating,” Thom recalled. “I promised myself I wouldn’t go to theater again.” Instead of forsaking the dramatic arts forever, though, Thom came up with a creative plan: “I decided to go to the one seat in the house where I wouldn’t have to leave — the stage.”\u003c/p>\n\u003cp>Thom doesn’t want anyone else who doesn’t conform to traditional norms of theater-going etiquette to suffer the same embarrassment. “All our shows are relaxed performances,” she said. “You don’t have to follow the usual conventions.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Backstage in Biscuit Land\u003c/em> plays Thursday, Jun. 2 – Sunday, Jun. 5 at the Fort Mason Center as part of the San Francisco International Arts Festival. For tickets and information, head \u003ca href=\"http://www.sfiaf.org/touretteshero\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jessica Thom has \u003ca href=\"http://tourette.org/Medical/whatists_cov.html\" target=\"_blank\" rel=\"noopener\">Tourette Syndrome\u003c/a>. Words like “biscuit” and “hedgehog” involuntarily cascade from her mouth. Her hands reflexively pound her chest.\u003c/p>\n\u003cp>And she’s found a way to convert her condition into a superpower.\u003c/p>\n\u003cp>As “Touretteshero,” a costumed warrior equipped with fantastical verbiage and a shiny blue and white suit, the British performance artist and comedian channels her tics into art.\u003c/p>\n\u003cp>“Touretteshero was a creative response to living with Tourette’s,” Thom said in a recent phone interview from New York, where she had just launched the North American tour of her show, \u003ca href=\"http://www.touretteshero.com/category/events/\" target=\"_blank\" rel=\"noopener\">\u003cem>Backstage in Biscuit Land\u003c/em>\u003c/a>. “I wanted to reclaim the laughter surrounding the condition and challenge misconceptions in a creative way.”\u003c/p>\n\u003cp>In \u003cem>Biscuit Land\u003c/em> (the title of which references the performer’s impulse to say the word “biscuit” thousands of times a day) Thom tells the story of her life and her journey with Tourette’s through comedy, puppetry, song — and tics. “My unusual neurology means I have superpowers,” Thom said. “I can collide strange ideas to create surreal, new concepts.”\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=\"Touretteshero - The Showreel\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/l76QSSDY31E?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 artist has come to see her her tics as a creative asset — “a crazy language generation machine.” As such, her shows are full of unpredictable yet arresting imagery and wordplay. On opening night in New York two weeks ago, for instance, Thom’s tics were busy channeling celebrities. The performer has no personal recollection of the stars she mentioned while on stage. “I’m afraid I have to focus on the show so I try not to pay attention to specific tics,” she said.\u003c/p>\n\u003cp>But fellow company member Matthew Pountney has better powers of recall. “You talked about Donald Trump rifling through Chopin’s mother’s sock drawer,” Pountney said, referring to a character in the show played by puppeteer and performer Jess Mabel Jones, aka Chopin.\u003c/p>\n\u003cp>\u003cem>Biscuit Land\u003c/em> was a huge hit at the 2014 \u003ca href=\"https://tickets.edfringe.com/\" target=\"_blank\" rel=\"noopener\">Edinburgh Fringe Festival \u003c/a>(the world’s biggest alternative performing arts event) and is now being seen in the U.S. at major venues in New York, Toronto and Los Angeles in addition to its run in the Bay Area as part of this year’s \u003ca href=\"http://www.sfiaf.org/\" target=\"_blank\" rel=\"noopener\">San Francisco International Arts Festival\u003c/a>. The tour coincides with \u003ca href=\"http://tourette.org/news/aheadlines.html\" target=\"_blank\" rel=\"noopener\">Tourette Awareness Month\u003c/a> here in the U.S.\u003c/p>\n\u003cp>But the theater has not always been welcoming to Thom. One time when she was sitting in the audience at a show, she was asked to move to the venue’s sound booth because of her tics. “It was humiliating,” Thom recalled. “I promised myself I wouldn’t go to theater again.” Instead of forsaking the dramatic arts forever, though, Thom came up with a creative plan: “I decided to go to the one seat in the house where I wouldn’t have to leave — the stage.”\u003c/p>\n\u003cp>Thom doesn’t want anyone else who doesn’t conform to traditional norms of theater-going etiquette to suffer the same embarrassment. “All our shows are relaxed performances,” she said. “You don’t have to follow the usual conventions.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Backstage in Biscuit Land\u003c/em> plays Thursday, Jun. 2 – Sunday, Jun. 5 at the Fort Mason Center as part of the San Francisco International Arts Festival. For tickets and information, head \u003ca href=\"http://www.sfiaf.org/touretteshero\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When you’re Tim Heidecker, and you’re responsible for some of the strangest comedic television to ever air, releasing a sincere rock record must be an uphill battle. Who would take it seriously? Especially when your previous musical projects include an album dedicated to 2012 presidential candidate Hermann Cain and a country group who only sings about drinking urine?\u003c/p>\n\u003cp>Heidecker, who has been playing music longer than he’s been making funny videos, is in the thick of the fight at the moment. Rado Records has just released his solo record, \u003cem>In Glendale\u003c/em> — an album of “somewhat earnest” songs, according to his press release. There are few silly tracks on it (one is called “Cleaning up the Dog Sh*t”), but it’s mostly about his normal life in Glendale with his wife and daughter. Inspired by Ray Davies’ work with the Kinks, Heidecker thought he’d create his own musical documentaries on American life.\u003c/p>\n\u003cp>“I generally don’t have much to say about stuff in a non-comedic way, so when I do have something to say, I take advantage of it,” Heidecker explains.\u003c/p>\n\u003cp>This Thursday, Heidecker and his 10-piece band come to the Independent in San Francisco to play tracks from his new record, along with some old favorites from his other groups (let’s all hope they play the \u003ca href=\"http://www.avclub.com/article/heres-tim-heideckers-new-song-about-drinking-his-o-99622\" target=\"_blank\" rel=\"noopener\">Yellow River Boys “Hot Piss.” \u003c/a>(NSFW)). Before he came town, I spoke with Heidecker over the phone about his long love affair with music and why he finally made an honest record (that still manages to be funny).\u003c/p>\n\u003cp>\u003ci>This interview was edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-tPX06wJh4g\u003c/p>\n\u003cp>\u003cb>You grew up in Allentown, Penn. Was it a music town?\u003c/b>\u003c/p>\n\u003cp>Not really. There was a club in nearby Bethlehem called Scarlet’s, which was all-ages. There were two guys who ran this club who let 16-year-olds come and they didn’t have alcohol or anything, but they’d let everyone dance to Nirvana or the Cure or whatever was popular. And they’d have band nights, so we’d play there.\u003c/p>\n\u003cp>There was actually a lot of hardcore and punk music that I was never really into, and there was some serious white power-skinhead sh*t going on there that was really dicey.\u003c/p>\n\u003cp>\u003cb>So there must’ve been some pretty intense situations?\u003c/b>\u003c/p>\n\u003cp>Yeah. In fact my friends and I wrote a letter about the skinhead problem that — I believe — was published in the local newspaper that was about how upset we were about the problems they were causing at shows. So we were little Social Justice Warriors back then.\u003c/p>\n\u003cfigure id=\"attachment_11633856\" class=\"wp-caption alignright\" style=\"max-width: 405px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11633856\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Tim-Heidecker-405x600.jpg\" alt=\"Tim Heidecker arrives to 'Tim And Eric'$ Billion Dollar Movie' in 2012. \" width=\"405\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Heidecker-405x600.jpg 405w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Heidecker-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Heidecker-768x1137.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Heidecker-797x1180.jpg 797w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Heidecker.jpg 800w\" sizes=\"(max-width: 405px) 100vw, 405px\">\u003cfigcaption class=\"wp-caption-text\">Tim Heidecker arrives to ‘Tim And Eric’$ Billion Dollar Movie’ in 2012. \u003ccite>(Photo: Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Your first band was called Time And Other Things. Was it a joke band or was it sincere?\u003c/b>\u003c/p>\n\u003cp>Totally sincere. We thought we were Morrissey meets Robert Smith meets Lennon and McCartney. It wasn’t emo, because that wasn’t around when I was in high school, but we were very emotive, emotional teenagers. [Laughs]\u003c/p>\n\u003cp>\u003cb>Did you wear makeup when on stage?\u003c/b>\u003c/p>\n\u003cp>No, nothing like that. But we wrote Doors-y kinds of songs about darkness and Pink Floyd-style “I’m losing my mind” types of songs.\u003c/p>\n\u003cp>\u003cb>Shaggy’s Belt Buckle was the next band?\u003c/b>\u003c/p>\n\u003cp>Yeah, Shaggy’s Belt Buckle was another group made up of my good friend Phil and my cousin Joel. That was a little more of a comedy group. The songs were sillier, and we were a little influenced by Ween and Spinal Tap. Humor started percolating in the songwriting.\u003c/p>\n\u003cp>\u003cb>Was this your first comedic project?\u003c/b>\u003c/p>\n\u003cp>Sure, though in terms of professional standards this was along the lines of hosting puppet shows in my basement — it wasn’t more advanced than that. We were in high school so we didn’t have the facilities or the outreach — we certainly didn’t have the Internet. We were just making Tascam 4-track tape demos, which I don’t think I even have.\u003c/p>\n\u003cp>\u003cb>Do you remember any of the songs or their themes?\u003c/b>\u003c/p>\n\u003cp>I do recall a lyric about Ed Meese. And that’s about it. [Laughs]\u003c/p>\n\u003cfigure id=\"attachment_11633855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11633855\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Tim-Eric-Red-800x450.jpg\" alt='Tim Heidecker and Eric Wareheim of Tim & Eric perform during \"The Big Live Comedy Show\" in 2013. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Eric-Red-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Eric-Red-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Eric-Red-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Eric-Red.jpg 883w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Heidecker and Eric Wareheim of Tim & Eric perform during “The Big Live Comedy Show” in 2013. \u003ccite>(Photo: Mark Davis/Getty Images for YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>For this solo record, what was your process like? Did you have a bigger concept in mind?\u003c/b>\u003c/p>\n\u003cp>Most things I end up putting out, I try to have be a little more than a random collection of songs. There’s usually an overall theme or concept behind it. So this one started when I was writing songs that were a little more informed by my real life. A few of them I had been building up on my computer, which is how I usually make rough demos of stuff. But those songs fueled the idea that I could write more in this style, where it’s more about what I’m observing or experiencing. It thought it would be cool to write something that wasn’t a goof or a parody of anything, just a straight reporting of things. Then I filled it out songs that were in the same vein that I had been working on.\u003c/p>\n\u003cp>It’s an album that’s sort of about me and L.A. and California. Having lived here for a while and being a fan of certain records that are indicative of a place, I thought I’d have something to say about it. Then I was encouraged by some people in the music business — Jonathan Rado, who is in a band called Foxygen, and Chris Swanson of Jagjaguwar Records. They told me I should just put out the record under my own name and have it be somewhat straight.\u003c/p>\n\u003cp>\u003cb>Do you wish you could play music all the time?\u003c/b>\u003c/p>\n\u003cp>I think the appeal of life in a touring band would fade quickly when doing 150 dates a year. There’s certain economic realities to it, too: I have a ten-piece band, so if you start doing the math on how that breaks down to what everyone is making a night, it gets a little tricky after a while. And I love my full-time job probably just as much or even more so. Part of putting a record out is getting out there and making sure people hear it by playing live, but I wouldn’t want to do it more than I am right now.\u003c/p>\n\u003cfigure id=\"attachment_11633858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11633858\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Tim-GRegg-TurkingtonCROP-800x450.jpg\" alt=\"Tim Heidecker and Gregg Turkington attend the 2016 Adult Swim Upfront Party\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-GRegg-TurkingtonCROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-GRegg-TurkingtonCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-GRegg-TurkingtonCROP-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Heidecker and Gregg Turkington attend the 2016 Adult Swim Upfront Party \u003ccite>(Photo: Jamie McCarthy/Getty Images for Adult Swim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You usually play characters in your projects — even on your podcast \u003ci>On Cinema,\u003c/i> you use your own name but you’re playing a character. Do you have a character for your live shows?\u003c/b>\u003c/p>\n\u003cp>I’ve been playing around with the idea but I don’t have it figured out yet. I hoping by doing it a few nights in a row, I will get into a groove. I feel like if you’re coming to this show, you’re a little more open to me being relaxed and not hiding behind a persona. There’s an uncomfortability that exists at these music shows, at least for the first few minutes, because people are confused and don’t know how to behave — if they’re supposed to laugh or not. But that eventually thaws out and they relax.\u003c/p>\n\u003cp>We just play these songs. I’m not in a costume or anything; [laughs] I’m just myself. But I’m still gonna make fun of somebody in the band and I’m going to yell at somebody in the front row for talking. If I’m losing the audience, I’ll probably turn on my “entertainer skills” and make something happen out of nothing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Tim Heidecker and His Ten Piece Band play the Independent in San Francisco on June 2 at 8pm. For tickets and more information, go \u003ca href=\"https://www.ticketfly.com/purchase/event/1080749?q=ecf08bf6-4a91-434a-b874-9424f589a996&p=45f91669-929a-4393-b979-069f3691f454&ts=1464743004&c=ticketfly&e=0010a&rt=Safetynet&h=10b7bed9c992b3539be912ede9ac17c6\" target=\"_blank\" rel=\"noopener\">to ticketfly.com\u003c/a>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you’re Tim Heidecker, and you’re responsible for some of the strangest comedic television to ever air, releasing a sincere rock record must be an uphill battle. Who would take it seriously? Especially when your previous musical projects include an album dedicated to 2012 presidential candidate Hermann Cain and a country group who only sings about drinking urine?\u003c/p>\n\u003cp>Heidecker, who has been playing music longer than he’s been making funny videos, is in the thick of the fight at the moment. Rado Records has just released his solo record, \u003cem>In Glendale\u003c/em> — an album of “somewhat earnest” songs, according to his press release. There are few silly tracks on it (one is called “Cleaning up the Dog Sh*t”), but it’s mostly about his normal life in Glendale with his wife and daughter. Inspired by Ray Davies’ work with the Kinks, Heidecker thought he’d create his own musical documentaries on American life.\u003c/p>\n\u003cp>“I generally don’t have much to say about stuff in a non-comedic way, so when I do have something to say, I take advantage of it,” Heidecker explains.\u003c/p>\n\u003cp>This Thursday, Heidecker and his 10-piece band come to the Independent in San Francisco to play tracks from his new record, along with some old favorites from his other groups (let’s all hope they play the \u003ca href=\"http://www.avclub.com/article/heres-tim-heideckers-new-song-about-drinking-his-o-99622\" target=\"_blank\" rel=\"noopener\">Yellow River Boys “Hot Piss.” \u003c/a>(NSFW)). Before he came town, I spoke with Heidecker over the phone about his long love affair with music and why he finally made an honest record (that still manages to be funny).\u003c/p>\n\u003cp>\u003ci>This interview was edited for length and clarity.\u003c/i>\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/-tPX06wJh4g'\n title='//www.youtube.com/embed/-tPX06wJh4g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>You grew up in Allentown, Penn. Was it a music town?\u003c/b>\u003c/p>\n\u003cp>Not really. There was a club in nearby Bethlehem called Scarlet’s, which was all-ages. There were two guys who ran this club who let 16-year-olds come and they didn’t have alcohol or anything, but they’d let everyone dance to Nirvana or the Cure or whatever was popular. And they’d have band nights, so we’d play there.\u003c/p>\n\u003cp>There was actually a lot of hardcore and punk music that I was never really into, and there was some serious white power-skinhead sh*t going on there that was really dicey.\u003c/p>\n\u003cp>\u003cb>So there must’ve been some pretty intense situations?\u003c/b>\u003c/p>\n\u003cp>Yeah. In fact my friends and I wrote a letter about the skinhead problem that — I believe — was published in the local newspaper that was about how upset we were about the problems they were causing at shows. So we were little Social Justice Warriors back then.\u003c/p>\n\u003cfigure id=\"attachment_11633856\" class=\"wp-caption alignright\" style=\"max-width: 405px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11633856\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Tim-Heidecker-405x600.jpg\" alt=\"Tim Heidecker arrives to 'Tim And Eric'$ Billion Dollar Movie' in 2012. \" width=\"405\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Heidecker-405x600.jpg 405w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Heidecker-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Heidecker-768x1137.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Heidecker-797x1180.jpg 797w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Heidecker.jpg 800w\" sizes=\"(max-width: 405px) 100vw, 405px\">\u003cfigcaption class=\"wp-caption-text\">Tim Heidecker arrives to ‘Tim And Eric’$ Billion Dollar Movie’ in 2012. \u003ccite>(Photo: Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Your first band was called Time And Other Things. Was it a joke band or was it sincere?\u003c/b>\u003c/p>\n\u003cp>Totally sincere. We thought we were Morrissey meets Robert Smith meets Lennon and McCartney. It wasn’t emo, because that wasn’t around when I was in high school, but we were very emotive, emotional teenagers. [Laughs]\u003c/p>\n\u003cp>\u003cb>Did you wear makeup when on stage?\u003c/b>\u003c/p>\n\u003cp>No, nothing like that. But we wrote Doors-y kinds of songs about darkness and Pink Floyd-style “I’m losing my mind” types of songs.\u003c/p>\n\u003cp>\u003cb>Shaggy’s Belt Buckle was the next band?\u003c/b>\u003c/p>\n\u003cp>Yeah, Shaggy’s Belt Buckle was another group made up of my good friend Phil and my cousin Joel. That was a little more of a comedy group. The songs were sillier, and we were a little influenced by Ween and Spinal Tap. Humor started percolating in the songwriting.\u003c/p>\n\u003cp>\u003cb>Was this your first comedic project?\u003c/b>\u003c/p>\n\u003cp>Sure, though in terms of professional standards this was along the lines of hosting puppet shows in my basement — it wasn’t more advanced than that. We were in high school so we didn’t have the facilities or the outreach — we certainly didn’t have the Internet. We were just making Tascam 4-track tape demos, which I don’t think I even have.\u003c/p>\n\u003cp>\u003cb>Do you remember any of the songs or their themes?\u003c/b>\u003c/p>\n\u003cp>I do recall a lyric about Ed Meese. And that’s about it. [Laughs]\u003c/p>\n\u003cfigure id=\"attachment_11633855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11633855\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Tim-Eric-Red-800x450.jpg\" alt='Tim Heidecker and Eric Wareheim of Tim & Eric perform during \"The Big Live Comedy Show\" in 2013. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Eric-Red-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Eric-Red-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Eric-Red-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-Eric-Red.jpg 883w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Heidecker and Eric Wareheim of Tim & Eric perform during “The Big Live Comedy Show” in 2013. \u003ccite>(Photo: Mark Davis/Getty Images for YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>For this solo record, what was your process like? Did you have a bigger concept in mind?\u003c/b>\u003c/p>\n\u003cp>Most things I end up putting out, I try to have be a little more than a random collection of songs. There’s usually an overall theme or concept behind it. So this one started when I was writing songs that were a little more informed by my real life. A few of them I had been building up on my computer, which is how I usually make rough demos of stuff. But those songs fueled the idea that I could write more in this style, where it’s more about what I’m observing or experiencing. It thought it would be cool to write something that wasn’t a goof or a parody of anything, just a straight reporting of things. Then I filled it out songs that were in the same vein that I had been working on.\u003c/p>\n\u003cp>It’s an album that’s sort of about me and L.A. and California. Having lived here for a while and being a fan of certain records that are indicative of a place, I thought I’d have something to say about it. Then I was encouraged by some people in the music business — Jonathan Rado, who is in a band called Foxygen, and Chris Swanson of Jagjaguwar Records. They told me I should just put out the record under my own name and have it be somewhat straight.\u003c/p>\n\u003cp>\u003cb>Do you wish you could play music all the time?\u003c/b>\u003c/p>\n\u003cp>I think the appeal of life in a touring band would fade quickly when doing 150 dates a year. There’s certain economic realities to it, too: I have a ten-piece band, so if you start doing the math on how that breaks down to what everyone is making a night, it gets a little tricky after a while. And I love my full-time job probably just as much or even more so. Part of putting a record out is getting out there and making sure people hear it by playing live, but I wouldn’t want to do it more than I am right now.\u003c/p>\n\u003cfigure id=\"attachment_11633858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11633858\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Tim-GRegg-TurkingtonCROP-800x450.jpg\" alt=\"Tim Heidecker and Gregg Turkington attend the 2016 Adult Swim Upfront Party\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-GRegg-TurkingtonCROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-GRegg-TurkingtonCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Tim-GRegg-TurkingtonCROP-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Heidecker and Gregg Turkington attend the 2016 Adult Swim Upfront Party \u003ccite>(Photo: Jamie McCarthy/Getty Images for Adult Swim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You usually play characters in your projects — even on your podcast \u003ci>On Cinema,\u003c/i> you use your own name but you’re playing a character. Do you have a character for your live shows?\u003c/b>\u003c/p>\n\u003cp>I’ve been playing around with the idea but I don’t have it figured out yet. I hoping by doing it a few nights in a row, I will get into a groove. I feel like if you’re coming to this show, you’re a little more open to me being relaxed and not hiding behind a persona. There’s an uncomfortability that exists at these music shows, at least for the first few minutes, because people are confused and don’t know how to behave — if they’re supposed to laugh or not. But that eventually thaws out and they relax.\u003c/p>\n\u003cp>We just play these songs. I’m not in a costume or anything; [laughs] I’m just myself. But I’m still gonna make fun of somebody in the band and I’m going to yell at somebody in the front row for talking. If I’m losing the audience, I’ll probably turn on my “entertainer skills” and make something happen out of nothing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Tim Heidecker and His Ten Piece Band play the Independent in San Francisco on June 2 at 8pm. For tickets and more information, go \u003ca href=\"https://www.ticketfly.com/purchase/event/1080749?q=ecf08bf6-4a91-434a-b874-9424f589a996&p=45f91669-929a-4393-b979-069f3691f454&ts=1464743004&c=ticketfly&e=0010a&rt=Safetynet&h=10b7bed9c992b3539be912ede9ac17c6\" target=\"_blank\" rel=\"noopener\">to ticketfly.com\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lin-Manuel Miranda, Emily Blunt Board 'Mary Poppins' Sequel",
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"content": "\u003cp>Move over, Julie Andrews, there’s a new Mary Poppins in town.\u003c/p>\n\u003cp>Walt Disney Studios announced Tuesday that \u003cem>Into the Woods \u003c/em>star Emily Blunt would be taking over the part of the P.L. Travers-created nanny in a sequel to the 1964 classic, with \u003cem>Hamilton\u003c/em> creator Lin-Manuel Miranda joining as a new character, Jack, the street lamplighter.\u003c/p>\n\u003cp>The film, entitled \u003cem>Mary Poppins Returns\u003c/em>, will center on a now-grown Michael Banks and his three children in the aftermath of a tragedy and the help they get from Mary Poppins and Jack in Depression-era London.\u003c/p>\n\u003cp>Rob Marshall is set to direct off of a script from \u003cem>Finding Neverlan\u003c/em>d writer David Magee.\u003c/p>\n\u003cp>The film is scheduled to hit theaters on Dec. 25, 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Move over, Julie Andrews, there’s a new Mary Poppins in town.\u003c/p>\n\u003cp>Walt Disney Studios announced Tuesday that \u003cem>Into the Woods \u003c/em>star Emily Blunt would be taking over the part of the P.L. Travers-created nanny in a sequel to the 1964 classic, with \u003cem>Hamilton\u003c/em> creator Lin-Manuel Miranda joining as a new character, Jack, the street lamplighter.\u003c/p>\n\u003cp>The film, entitled \u003cem>Mary Poppins Returns\u003c/em>, will center on a now-grown Michael Banks and his three children in the aftermath of a tragedy and the help they get from Mary Poppins and Jack in Depression-era London.\u003c/p>\n\u003cp>Rob Marshall is set to direct off of a script from \u003cem>Finding Neverlan\u003c/em>d writer David Magee.\u003c/p>\n\u003cp>The film is scheduled to hit theaters on Dec. 25, 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-resurrected-new-york-city-operas-ambitious-new-season",
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"content": "\u003cp>When the New York City Opera (NYCO) announced its final performances and imminent bankruptcy in September 2013, opera lovers, not just in Manhattan, were shocked. How could a 70-year-old company, dubbed “The People’s Opera,” which nurtured the careers of emerging stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11618782\" target=\"_blank\" rel=\"noopener\">Beverly Sills\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15442924/placido-domingo\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, fall so far and \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/02/228171680/chronicle-of-a-death-foretold-new-york-city-opera-shuts-its-doors\" target=\"_blank\" rel=\"noopener\">suddenly cease to be\u003c/a>?\u003c/p>\n\u003cp>Almost as soon as the doors were shuttered, suitors lined up to try to reboot the company. Only in January did a victor emerge in the form of NYCO Renaissance, a group chaired by hedge fund manager Roy G. Niederhoffer, which announced the company’s return with a production of \u003ca href=\"http://www.nytimes.com/2016/01/22/arts/music/review-tosca-from-nyco-renaissance-puts-a-grand-ambition-to-the-test.html\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>Tosca\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Michael Capasso is the NYCO’s new general director. He formerly led Dicapo Opera, a small Manhattan-based company. Wednesday, in a telephone interview, he talked about what’s ahead. The conversation was edited for clarity and concision.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tom Huizenga: \u003cstrong>I was surprised, I must admit, to see such a wide-ranging, \u003ca href=\"http://nycopera.com/tickets/\" target=\"_blank\" rel=\"noopener\">ambitious season\u003c/a> announced so soon after the company reopened just a few months ago. \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Michael\u003c/strong> \u003cstrong>Capasso:\u003c/strong> I’m proud of the kind of season it shaped up to be, because it really evokes what I think what City Opera always was in the past in terms of the way it serves the opera world, in its breadth of repertoire. We have everything from Baroque to extremely contemporary to a big Romantic piece by an underperformed composer, at least underperformed in opera anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>Did it seem like a quick turnaround to you?\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>No, because throughout the entire bankruptcy process we were working and planning. We were quite diligent in getting everything prepared and in order. I had repertory plans. I had the venue lined up, I had lots of things in place throughout the time of the bankruptcy period of two years. This just didn’t happen in the last 60 days. We pulled the trigger on everything recently but we knew what we were going to do. We were prepared for it.\u003c/p>\n\u003cp>\u003cstrong>You come to the NYCO from an operatic background.\u003c/strong>\u003c/p>\n\u003cp>I founded and ran Dicapo Opera, which was a boutique, niche but very popular, company since 1981.\u003c/p>\n\u003cp>\u003cstrong>And your new job will be opera on a much larger scale.\u003c/strong>\u003c/p>\n\u003cp>It’s a much larger scale in one sense and it’s the same in the other. Producing an opera from A to Z takes what it takes. You have to find the piece, you have to license it. You have to cast it, you have to build the set, you have to sell the tickets, you have to market it. All of these things are the same throughout the industry. The difference is there are more zeros and commas involved in what you’re doing.\u003c/p>\n\u003cp>But the steps that are needed to produce professional opera, in a union condition, are something I’m very familiar with and have been doing for years. While the stakes are larger, the audiences are larger and the venue is larger, the process is still very much the same.\u003c/p>\n\u003cp>\u003cstrong>One thing that struck me immediately was the cost of such a robust season. I couldn’t help but think, “Where’s all the money coming from?”\u003c/strong>\u003c/p>\n\u003cp>It doesn’t cost as much as you might think, but it certainly isn’t cheap. One of our mainstage productions costs around $1 million. The money comes from various sources. We have a very dedicated board that has made significant contributions. We have been the happy recipient of a very large bequest. We have the money in place for the season that we’ve announced, obviously. And we are in the process of reinvigorating a fundraising program that was extremely strong in the company’s history.\u003c/p>\n\u003cp>It’s not going to happen overnight. If we can get back to, in a short period of time, even 30 percent of what the former company was easily raising, we’ll be OK. In the final years, the City Opera was raising close to $15 million even when they left Lincoln Center.\u003c/p>\n\u003cp>\u003cstrong>But back in late summer, early fall of 2013, it was hard for NYCO to raise any money at all. They tried a $1 million Kickstarter campaign and they couldn’t even raise that.\u003c/strong>\u003c/p>\n\u003cp>They couldn’t raise $1 million because they were in distress. The distress was well known and their approach, while valiant, was not well received because it was almost a threat to the funding community: Either help us or we’re going to go away. It was actually very successful in that thousands of people donated but they didn’t make their goal.\u003c/p>\n\u003cp>\u003cstrong>What’s the ballpark figure for the budget for this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>It’s around $7 million.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about the repertoire. There seems to be a number of lesser-known offerings, including Ottorino Respighi’s \u003cem>La campana sommersa\u003c/em> and Rachmaninoff’s first opera, the one-act \u003cem>Aleko.\u003c/em> And then there’s Bernstein’s beloved \u003cem>Candide,\u003c/em> the staple \u003cem>Pagliacci\u003c/em> and \u003cem>Angels\u003c/em> \u003cem>in\u003c/em> \u003cem>America\u003c/em> by Péter Eötvös. Why these particular operas?\u003c/strong>\u003c/p>\n\u003cp>I tried to plan a season that would be reminiscent of the glory years, if you will, of City Opera. Which were years that combined standard repertory with American works with new works and rarities, but by familiar composers.\u003c/p>\n\u003cp>\u003cem>Aleko\u003c/em> and \u003cem>Pagliacci\u003c/em> — you know they were written in the same year — I believe complement each other. It’ll have the fascination of seeing Rachmaninoff’s first opera combined with the comfort of an opera like \u003cem>Pagliacci,\u003c/em> which is appealing to the public.\u003c/p>\n\u003cp>Then we have a contemporary chamber opera, \u003cem>Fallujah\u003c/em>, which comes from Long Beach Opera. It’s something I want to do around Veterans Day; it’s the first opera written about the Iraq War. Then we go to \u003cem>Candide\u003c/em>, which is iconic. The opera house version was created for City Opera by Bernstein and Hal Prince. And we luckily have Hal Prince to direct it for us.\u003c/p>\n\u003cp>\u003cstrong>That’s a major coup.\u003c/strong>\u003c/p>\n\u003cp>It is a major coup. He loves the City Opera. City Opera gave him the first chance to direct an opera. He gave them \u003cem>Candide\u003c/em> and it was a valuable asset to them for years and years, and he wants to do something to give back and to help us succeed.\u003c/p>\n\u003cp>And then the Respighi piece fits into the neglected but important works that City Opera was known for. This is a piece that needs to be heard. It hasn’t been in New York since 1928, when the Met did it. It’s something that is very City Opera and it’s beautiful yet completely unknown to today’s audiences, and I have high hopes for it. Then we have a Spanish Baroque piece, \u003cem>Los Elementos\u003c/em>, which continues our new mission to perform an opera in Spanish every year. It also speaks to the long history City Opera has had with Baroque music. And then \u003cem>Angels in America\u003c/em> — an important piece never been done in New York, remarkably. And it ticks all the boxes for City Opera as I see it.\u003c/p>\n\u003cp>\u003cstrong>One thing NYCO is known for is the cultivation of young singers. I wonder if you could talk a little about that as there are no singers listed in the upcoming season announcement.\u003c/strong>\u003c/p>\n\u003cp>We like to announce the singers with the production and make that a separate announcement because it focuses on them more, rather than them just getting lost in the flurry of everything we’re saying right now. On top of it, I find that the longer we wait to cast, the higher level of artists we’re able to get. And I know that sounds contrary to what you might think. But the larger companies that pay the larger fees, they cast far in advance but they can tie people up.\u003c/p>\n\u003cp>We are not going to be able to tie somebody up with our fee structure long in advance. But now when I’m looking to cast for eight, 12, 16 months ahead, I have a greater likelihood of being able to get a higher caliber artist who’s available and will stick to the contract.\u003c/p>\n\u003cp>\u003cstrong>The original NYCO was heralded as “Opera for the People,” but recently a lot of small, flexible opera companies have sprouted in New York. I’m thinking Loft Opera, On Site Opera, the Prototype Festival and the many smaller ones associated with the New York Opera Alliance. How does the new NYCO fit into this more crowded field?\u003c/strong>\u003c/p>\n\u003cp>I see it as an uncrowded field. I think we’re in a class by ourselves. I think it’s crowded on that level, yes. And then there’s the Met. But the full scale, completely realized productions, in a proscenium theater with a union orchestra and chorus, which those companies don’t have, with scenery and costumes and all the elements of grand opera — perhaps not with superstars, but with emerging stars but on a grander scale, but not on the scale of the Met or La Scala — is where we fit in. And that’s where City Opera was always able to fit in.\u003c/p>\n\u003cp>\u003cstrong>Sounds like you must have had to redo your contracts with the union musicians.\u003c/strong>\u003c/p>\n\u003cp>We’ve successfully renegotiated all our contracts at a substantial discount from what they were before. We have an excellent relationship with all the unions, and we’ve had their cooperation. And it’s because of their cooperation that we’ve been able to restart this company. And I’m grateful to them and it’s very much a partnership.\u003c/p>\n\u003cp>\u003cstrong>Everyone talks of attracting younger audiences to opera. I suppose you are you thinking about that, too?\u003c/strong>\u003c/p>\n\u003cp>It’s perhaps the most important thing we have to do. We have our educational programs, which are wonderful for younger people who are going to grow up to enjoy opera, and that’s important. But it’s trying to attract the 25- to 40-year-olds who are not opera lovers and get them engaged and at the same time serve the traditional audience.\u003c/p>\n\u003cp>One of the things we try to do is make the opera going experience different. Our venue at the Rose Theater in Columbus Circle really helps us do that. There’s no other theater in the world where you can go and have the dining options, the cocktail options, the shopping options, a five-star hotel in the building. And so we can make a different experience rather than the opera as just a destination. And frankly, on my board I have seven members under 50 years old. And under 50 is young in opera terms.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk future. Where do you see the company five years from now?\u003c/strong>\u003c/p>\n\u003cp>I know we can do what we’re doing now. I know I can raise the money to support this programming. And I believe our audience will support this size of programming. Would I like to add performances and productions? Yes. Will I? I only will if I know that the money is in place to do it and the demand from the audience is there.\u003c/p>\n\u003cp>The opera world, and especially the New York entertainment world, is so different now. And we have to adjust to that world and find a place where the audience is there for us. Is that 75 performances a year? Is it 80, or 60? We’re going to find out and the public is going to tell us. The public and the ability to fundraise for it are what’s going to dictate where we are in five years. It’s not going to ever be, in my opinion, 120 performances a year. I don’t think the market will take it.\u003c/p>\n\u003cp>\u003cstrong>One final question. You know, your name looks Italian …\u003c/strong>\u003c/p>\n\u003cp>It is definitely Italian.\u003c/p>\n\u003cp>\u003cstrong>I’m wondering if you grew up with opera in the house as a kid.\u003c/strong>\u003c/p>\n\u003cp>Actually, no. I grew up in an Italian-speaking household, constantly blaring Italian music, but never opera. My grandfather always maintained that the greatest Italian singer was Enrico Caruso.\u003c/p>\n\u003cp>\u003cstrong>He was right!\u003c/strong>\u003c/p>\n\u003cp>But we were not listening to Caruso because they were the old scratchy 78s that we had in cartons in the garage. But I went to the library and got this book by Francis Robinson called \u003cem>Caruso: His Life in Pictures\u003c/em>. I devoured this book and I asked to go to the opera. And my mother took me, and I went to see \u003cem>L’elisir d’amore\u003c/em> at the Met, in that old production that was by Nathaniel Merrill where Dulcamara came in in a hot air balloon, and I was captivated.\u003c/p>\n\u003cp>\u003cstrong>And now, all these years later, you’re heading up the New York City Opera. So it’s a happy ending.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a very happy ending. I’m the luckiest guy in the world because I get up in the morning and I do exactly what I want to do. \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=The+Resurrected+New+York+City+Opera%27s+Ambitious+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the New York City Opera (NYCO) announced its final performances and imminent bankruptcy in September 2013, opera lovers, not just in Manhattan, were shocked. How could a 70-year-old company, dubbed “The People’s Opera,” which nurtured the careers of emerging stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11618782\" target=\"_blank\" rel=\"noopener\">Beverly Sills\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15442924/placido-domingo\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, fall so far and \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/02/228171680/chronicle-of-a-death-foretold-new-york-city-opera-shuts-its-doors\" target=\"_blank\" rel=\"noopener\">suddenly cease to be\u003c/a>?\u003c/p>\n\u003cp>Almost as soon as the doors were shuttered, suitors lined up to try to reboot the company. Only in January did a victor emerge in the form of NYCO Renaissance, a group chaired by hedge fund manager Roy G. Niederhoffer, which announced the company’s return with a production of \u003ca href=\"http://www.nytimes.com/2016/01/22/arts/music/review-tosca-from-nyco-renaissance-puts-a-grand-ambition-to-the-test.html\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>Tosca\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Michael Capasso is the NYCO’s new general director. He formerly led Dicapo Opera, a small Manhattan-based company. Wednesday, in a telephone interview, he talked about what’s ahead. The conversation was edited for clarity and concision.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tom Huizenga: \u003cstrong>I was surprised, I must admit, to see such a wide-ranging, \u003ca href=\"http://nycopera.com/tickets/\" target=\"_blank\" rel=\"noopener\">ambitious season\u003c/a> announced so soon after the company reopened just a few months ago. \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Michael\u003c/strong> \u003cstrong>Capasso:\u003c/strong> I’m proud of the kind of season it shaped up to be, because it really evokes what I think what City Opera always was in the past in terms of the way it serves the opera world, in its breadth of repertoire. We have everything from Baroque to extremely contemporary to a big Romantic piece by an underperformed composer, at least underperformed in opera anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>Did it seem like a quick turnaround to you?\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>No, because throughout the entire bankruptcy process we were working and planning. We were quite diligent in getting everything prepared and in order. I had repertory plans. I had the venue lined up, I had lots of things in place throughout the time of the bankruptcy period of two years. This just didn’t happen in the last 60 days. We pulled the trigger on everything recently but we knew what we were going to do. We were prepared for it.\u003c/p>\n\u003cp>\u003cstrong>You come to the NYCO from an operatic background.\u003c/strong>\u003c/p>\n\u003cp>I founded and ran Dicapo Opera, which was a boutique, niche but very popular, company since 1981.\u003c/p>\n\u003cp>\u003cstrong>And your new job will be opera on a much larger scale.\u003c/strong>\u003c/p>\n\u003cp>It’s a much larger scale in one sense and it’s the same in the other. Producing an opera from A to Z takes what it takes. You have to find the piece, you have to license it. You have to cast it, you have to build the set, you have to sell the tickets, you have to market it. All of these things are the same throughout the industry. The difference is there are more zeros and commas involved in what you’re doing.\u003c/p>\n\u003cp>But the steps that are needed to produce professional opera, in a union condition, are something I’m very familiar with and have been doing for years. While the stakes are larger, the audiences are larger and the venue is larger, the process is still very much the same.\u003c/p>\n\u003cp>\u003cstrong>One thing that struck me immediately was the cost of such a robust season. I couldn’t help but think, “Where’s all the money coming from?”\u003c/strong>\u003c/p>\n\u003cp>It doesn’t cost as much as you might think, but it certainly isn’t cheap. One of our mainstage productions costs around $1 million. The money comes from various sources. We have a very dedicated board that has made significant contributions. We have been the happy recipient of a very large bequest. We have the money in place for the season that we’ve announced, obviously. And we are in the process of reinvigorating a fundraising program that was extremely strong in the company’s history.\u003c/p>\n\u003cp>It’s not going to happen overnight. If we can get back to, in a short period of time, even 30 percent of what the former company was easily raising, we’ll be OK. In the final years, the City Opera was raising close to $15 million even when they left Lincoln Center.\u003c/p>\n\u003cp>\u003cstrong>But back in late summer, early fall of 2013, it was hard for NYCO to raise any money at all. They tried a $1 million Kickstarter campaign and they couldn’t even raise that.\u003c/strong>\u003c/p>\n\u003cp>They couldn’t raise $1 million because they were in distress. The distress was well known and their approach, while valiant, was not well received because it was almost a threat to the funding community: Either help us or we’re going to go away. It was actually very successful in that thousands of people donated but they didn’t make their goal.\u003c/p>\n\u003cp>\u003cstrong>What’s the ballpark figure for the budget for this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>It’s around $7 million.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about the repertoire. There seems to be a number of lesser-known offerings, including Ottorino Respighi’s \u003cem>La campana sommersa\u003c/em> and Rachmaninoff’s first opera, the one-act \u003cem>Aleko.\u003c/em> And then there’s Bernstein’s beloved \u003cem>Candide,\u003c/em> the staple \u003cem>Pagliacci\u003c/em> and \u003cem>Angels\u003c/em> \u003cem>in\u003c/em> \u003cem>America\u003c/em> by Péter Eötvös. Why these particular operas?\u003c/strong>\u003c/p>\n\u003cp>I tried to plan a season that would be reminiscent of the glory years, if you will, of City Opera. Which were years that combined standard repertory with American works with new works and rarities, but by familiar composers.\u003c/p>\n\u003cp>\u003cem>Aleko\u003c/em> and \u003cem>Pagliacci\u003c/em> — you know they were written in the same year — I believe complement each other. It’ll have the fascination of seeing Rachmaninoff’s first opera combined with the comfort of an opera like \u003cem>Pagliacci,\u003c/em> which is appealing to the public.\u003c/p>\n\u003cp>Then we have a contemporary chamber opera, \u003cem>Fallujah\u003c/em>, which comes from Long Beach Opera. It’s something I want to do around Veterans Day; it’s the first opera written about the Iraq War. Then we go to \u003cem>Candide\u003c/em>, which is iconic. The opera house version was created for City Opera by Bernstein and Hal Prince. And we luckily have Hal Prince to direct it for us.\u003c/p>\n\u003cp>\u003cstrong>That’s a major coup.\u003c/strong>\u003c/p>\n\u003cp>It is a major coup. He loves the City Opera. City Opera gave him the first chance to direct an opera. He gave them \u003cem>Candide\u003c/em> and it was a valuable asset to them for years and years, and he wants to do something to give back and to help us succeed.\u003c/p>\n\u003cp>And then the Respighi piece fits into the neglected but important works that City Opera was known for. This is a piece that needs to be heard. It hasn’t been in New York since 1928, when the Met did it. It’s something that is very City Opera and it’s beautiful yet completely unknown to today’s audiences, and I have high hopes for it. Then we have a Spanish Baroque piece, \u003cem>Los Elementos\u003c/em>, which continues our new mission to perform an opera in Spanish every year. It also speaks to the long history City Opera has had with Baroque music. And then \u003cem>Angels in America\u003c/em> — an important piece never been done in New York, remarkably. And it ticks all the boxes for City Opera as I see it.\u003c/p>\n\u003cp>\u003cstrong>One thing NYCO is known for is the cultivation of young singers. I wonder if you could talk a little about that as there are no singers listed in the upcoming season announcement.\u003c/strong>\u003c/p>\n\u003cp>We like to announce the singers with the production and make that a separate announcement because it focuses on them more, rather than them just getting lost in the flurry of everything we’re saying right now. On top of it, I find that the longer we wait to cast, the higher level of artists we’re able to get. And I know that sounds contrary to what you might think. But the larger companies that pay the larger fees, they cast far in advance but they can tie people up.\u003c/p>\n\u003cp>We are not going to be able to tie somebody up with our fee structure long in advance. But now when I’m looking to cast for eight, 12, 16 months ahead, I have a greater likelihood of being able to get a higher caliber artist who’s available and will stick to the contract.\u003c/p>\n\u003cp>\u003cstrong>The original NYCO was heralded as “Opera for the People,” but recently a lot of small, flexible opera companies have sprouted in New York. I’m thinking Loft Opera, On Site Opera, the Prototype Festival and the many smaller ones associated with the New York Opera Alliance. How does the new NYCO fit into this more crowded field?\u003c/strong>\u003c/p>\n\u003cp>I see it as an uncrowded field. I think we’re in a class by ourselves. I think it’s crowded on that level, yes. And then there’s the Met. But the full scale, completely realized productions, in a proscenium theater with a union orchestra and chorus, which those companies don’t have, with scenery and costumes and all the elements of grand opera — perhaps not with superstars, but with emerging stars but on a grander scale, but not on the scale of the Met or La Scala — is where we fit in. And that’s where City Opera was always able to fit in.\u003c/p>\n\u003cp>\u003cstrong>Sounds like you must have had to redo your contracts with the union musicians.\u003c/strong>\u003c/p>\n\u003cp>We’ve successfully renegotiated all our contracts at a substantial discount from what they were before. We have an excellent relationship with all the unions, and we’ve had their cooperation. And it’s because of their cooperation that we’ve been able to restart this company. And I’m grateful to them and it’s very much a partnership.\u003c/p>\n\u003cp>\u003cstrong>Everyone talks of attracting younger audiences to opera. I suppose you are you thinking about that, too?\u003c/strong>\u003c/p>\n\u003cp>It’s perhaps the most important thing we have to do. We have our educational programs, which are wonderful for younger people who are going to grow up to enjoy opera, and that’s important. But it’s trying to attract the 25- to 40-year-olds who are not opera lovers and get them engaged and at the same time serve the traditional audience.\u003c/p>\n\u003cp>One of the things we try to do is make the opera going experience different. Our venue at the Rose Theater in Columbus Circle really helps us do that. There’s no other theater in the world where you can go and have the dining options, the cocktail options, the shopping options, a five-star hotel in the building. And so we can make a different experience rather than the opera as just a destination. And frankly, on my board I have seven members under 50 years old. And under 50 is young in opera terms.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk future. Where do you see the company five years from now?\u003c/strong>\u003c/p>\n\u003cp>I know we can do what we’re doing now. I know I can raise the money to support this programming. And I believe our audience will support this size of programming. Would I like to add performances and productions? Yes. Will I? I only will if I know that the money is in place to do it and the demand from the audience is there.\u003c/p>\n\u003cp>The opera world, and especially the New York entertainment world, is so different now. And we have to adjust to that world and find a place where the audience is there for us. Is that 75 performances a year? Is it 80, or 60? We’re going to find out and the public is going to tell us. The public and the ability to fundraise for it are what’s going to dictate where we are in five years. It’s not going to ever be, in my opinion, 120 performances a year. I don’t think the market will take it.\u003c/p>\n\u003cp>\u003cstrong>One final question. You know, your name looks Italian …\u003c/strong>\u003c/p>\n\u003cp>It is definitely Italian.\u003c/p>\n\u003cp>\u003cstrong>I’m wondering if you grew up with opera in the house as a kid.\u003c/strong>\u003c/p>\n\u003cp>Actually, no. I grew up in an Italian-speaking household, constantly blaring Italian music, but never opera. My grandfather always maintained that the greatest Italian singer was Enrico Caruso.\u003c/p>\n\u003cp>\u003cstrong>He was right!\u003c/strong>\u003c/p>\n\u003cp>But we were not listening to Caruso because they were the old scratchy 78s that we had in cartons in the garage. But I went to the library and got this book by Francis Robinson called \u003cem>Caruso: His Life in Pictures\u003c/em>. I devoured this book and I asked to go to the opera. And my mother took me, and I went to see \u003cem>L’elisir d’amore\u003c/em> at the Met, in that old production that was by Nathaniel Merrill where Dulcamara came in in a hot air balloon, and I was captivated.\u003c/p>\n\u003cp>\u003cstrong>And now, all these years later, you’re heading up the New York City Opera. So it’s a happy ending.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a very happy ending. I’m the luckiest guy in the world because I get up in the morning and I do exactly what I want to do. \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=The+Resurrected+New+York+City+Opera%27s+Ambitious+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "why-travel-experience-new-worlds-this-summer-through-these-classical-voices",
"title": "Why Travel? Experience New Worlds This Summer Through These Classical Voices",
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"headTitle": "Why Travel? Experience New Worlds This Summer Through These Classical Voices | KQED",
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"content": "\u003cp>While summer evokes images of relaxing at the beach or reading by the pool, its also a great time to try something new or go on an adventure, whether it is a romantic fling or a backpacking trip.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11638282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For those of us wanting to escape the June gloom of the Bay Area without the hassle of long TSA lines, the classical vocal music scene is heating things up with bold takes on timeless stories. Here are five sultry and provocative productions you won’t want to miss.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1464286494544-400x400.jpg\" alt=\"SF Opera's Carmen\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607625\">\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\u003ch3>SF Opera’s \u003ca href=\"http://sfopera.com/discover-opera/1516-season/carmen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Carmen\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>War Memorial Opera House\u003cbr>\nMay 27 – July 3\u003c/h5>\n\u003cp>Bizet’s scandalous tale of seduction, obsession, and murder gets a contemporary re-staging from Calixto Bieito that comes with an advisory for “parental discretion.” Inspired by the area of Ceuta — an exclave of Spain in Africa that borders Morocco — the production features two young casts that should bring the intensity to a fever pitch and be cinematically convincing. English National Opera production is Bieito’s American premiere, so it is no surprise the July 2 performance is being simulcast live to AT&T Park; but it should also be interesting to see how Americans react, as Bieito is known for his liberal use of violence and nudity.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607627\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-400x488.jpg\" alt=\"Soprano Julia Bullock\" width=\"400\" height=\"488\" class=\"size-thumbnail wp-image-11607627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-400x488.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-492x600.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-768x937.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-968x1180.jpg 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-1920x2341.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-1180x1439.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-960x1171.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Julia Bullock performs at Ojai at Berkeley. \u003ccite>(Photo: Cal Performances/Christian Steiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Cal Performances’ \u003ca href=\"https://calperformances.org/performances/2015-16/ojai/ojai-at-berkeley.php\" target=\"_blank\" rel=\"noopener\">\u003cem>La Passion de Simone\u003c/em> and \u003cem>La Passion de Josephine Baker: A Portrait\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>UC Berkeley’s Zellerbach Playhouse\u003cbr>\nJune 16 and 18\u003c/h5>\n\u003cp>Soprano \u003ca href=\"http://www.juliabullock.com/\" target=\"_blank\" rel=\"noopener\">Julia Bullock\u003c/a> portrays radical philosopher Simone Weil and alluring performer Josephine Baker, both strong ladies in their own right, in two chamber vocal pieces accompanied by the International Contemporary Ensemble. Part of Ojai at Berkeley, this year’s curator is opera director \u003ca href=\"http://www.wacd.ucla.edu/people/28-people/faculty/133-peter-sellars\" target=\"_blank\" rel=\"noopener\">Peter Sellars\u003c/a>, who has chosen the theme of powerful women for 2016’s programming. The female vision of the festival extends farther than simply subject matter: \u003cem>La Passion de Simone\u003c/em> was composed by the most prominent woman opera composer of our day, \u003ca href=\"http://saariaho.org/\" target=\"_blank\" rel=\"noopener\">Kaija Saariaho\u003c/a>, and the text of \u003cem>La Passion de Josephine Baker: A Portrait\u003c/em> is from poet \u003ca href=\"http://claudiarankine.com/\" target=\"_blank\" rel=\"noopener\">Claudia Rankine\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607629\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-400x400.jpg\" alt=\"Merola Opera's Transformations\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Snow White (Ani Maldjian) in the Merola Opera Program’s 2006 production of Conrad Susa’s Transformations. \u003ccite>(Photo: Merola Opera Program/Kristen Loken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Merola Opera Program’s \u003ca href=\"http://merola.org/calendar\" target=\"_blank\" rel=\"noopener\">\u003cem>Transformations\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>San Francisco Conservatory of Music\u003cbr>\nJuly 21 and 23\u003c/h5>\n\u003cp>Merola, the summer opera training program associated with San Francisco Opera, is presenting Conrad Susa’s \u003cem>Transformations\u003c/em> as one of two fully-staged works this year. Based on Anne Sexton’s collection of confessional poetry of the same name, the piece is set in a mental hospital. The poems are dark re-tellings of Grimm’s fairy tales that deal with madness, desire, cannibalism and incest.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607631\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11607631\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-400x267.jpg\" alt=\"Oakland 16th Street Station\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland’s 16th Street Station, abandoned in 1994, will host West Edge Opera’s 2016 Festival. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>West Edge Opera’s \u003ca href=\"http://www.westedgeopera.org/powder-her-face/\" target=\"_blank\" rel=\"noopener\">\u003cem>Powder Her Face\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>16th Street Station, Oakland\u003cbr>\nJuly 31 to Aug. 13\u003c/h5>\n\u003cp>Following the resounding success of last year’s festival, West Edge Opera presents the whole 2016 season at the abandoned train station in West Oakland. The most daring offering of the three operas is certainly British composer Thomas Adès’ \u003cem>Powder Her Face\u003c/em>, which follows the sexual exploits of Margaret Campbell, the so-called \u003ca href=\"https://de.wikipedia.org/wiki/Margaret_Campbell,_Duchess_of_Argyll\" target=\"_blank\" rel=\"noopener\">“Dirty” Duchess of Argyll\u003c/a>, whose divorce proceedings in 1963 caused a huge scandal. The opera is best known for a wordless depiction of fellatio, the scene based on salacious photographs the Duke of Argyll produced as evidence of infidelity in the divorce case.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607632\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-400x400.jpg\" alt=\"Festival Opera Abduction from the Seraglio 2016\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857.jpg 680w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Brian Cheney plays a character resembling Captain Kirk from “Star Trek” in Mozart’s Abduction from the Seraglio. \u003ccite>(Photo: Pacific Opera Project/Martha Benedict)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Festival Opera’s \u003ca href=\"http://www.festivalopera.org/abduction16.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Abduction from the Seraglio\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>Valley Center for the Performing Arts, Oakland\u003cbr>\nAug. 5 to 9\u003c/h5>\n\u003cp>Nerds rejoice! Walnut Creek-based Festival Opera is performing Mozart’s \u003cem>Abduction from the Seraglio\u003c/em> with a twist, setting it in space instead of a harem. This collaboration with Oakland Symphony is a re-imagining of the Mozart Singspiel as a parody of the original \u003cem>Star Trek\u003c/em> and should prove quite fun. The libretto has been translated into English, the main characters corresponding to Captain Kirk and Mister Spock, and so forth. The possibilities as far as the sexy alien ladies of \u003cem>Star Trek\u003c/em> should work well, given the orientalist slant of the Mozart plot.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Why Travel? Experience New Worlds This Summer Through These Classical Voices | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While summer evokes images of relaxing at the beach or reading by the pool, its also a great time to try something new or go on an adventure, whether it is a romantic fling or a backpacking trip.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11638282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For those of us wanting to escape the June gloom of the Bay Area without the hassle of long TSA lines, the classical vocal music scene is heating things up with bold takes on timeless stories. Here are five sultry and provocative productions you won’t want to miss.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1464286494544-400x400.jpg\" alt=\"SF Opera's Carmen\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607625\">\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\u003ch3>SF Opera’s \u003ca href=\"http://sfopera.com/discover-opera/1516-season/carmen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Carmen\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>War Memorial Opera House\u003cbr>\nMay 27 – July 3\u003c/h5>\n\u003cp>Bizet’s scandalous tale of seduction, obsession, and murder gets a contemporary re-staging from Calixto Bieito that comes with an advisory for “parental discretion.” Inspired by the area of Ceuta — an exclave of Spain in Africa that borders Morocco — the production features two young casts that should bring the intensity to a fever pitch and be cinematically convincing. English National Opera production is Bieito’s American premiere, so it is no surprise the July 2 performance is being simulcast live to AT&T Park; but it should also be interesting to see how Americans react, as Bieito is known for his liberal use of violence and nudity.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607627\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-400x488.jpg\" alt=\"Soprano Julia Bullock\" width=\"400\" height=\"488\" class=\"size-thumbnail wp-image-11607627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-400x488.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-492x600.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-768x937.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-968x1180.jpg 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-1920x2341.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-1180x1439.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Ojai-Julia-Bullock-credit-courtesy-960x1171.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Julia Bullock performs at Ojai at Berkeley. \u003ccite>(Photo: Cal Performances/Christian Steiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Cal Performances’ \u003ca href=\"https://calperformances.org/performances/2015-16/ojai/ojai-at-berkeley.php\" target=\"_blank\" rel=\"noopener\">\u003cem>La Passion de Simone\u003c/em> and \u003cem>La Passion de Josephine Baker: A Portrait\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>UC Berkeley’s Zellerbach Playhouse\u003cbr>\nJune 16 and 18\u003c/h5>\n\u003cp>Soprano \u003ca href=\"http://www.juliabullock.com/\" target=\"_blank\" rel=\"noopener\">Julia Bullock\u003c/a> portrays radical philosopher Simone Weil and alluring performer Josephine Baker, both strong ladies in their own right, in two chamber vocal pieces accompanied by the International Contemporary Ensemble. Part of Ojai at Berkeley, this year’s curator is opera director \u003ca href=\"http://www.wacd.ucla.edu/people/28-people/faculty/133-peter-sellars\" target=\"_blank\" rel=\"noopener\">Peter Sellars\u003c/a>, who has chosen the theme of powerful women for 2016’s programming. The female vision of the festival extends farther than simply subject matter: \u003cem>La Passion de Simone\u003c/em> was composed by the most prominent woman opera composer of our day, \u003ca href=\"http://saariaho.org/\" target=\"_blank\" rel=\"noopener\">Kaija Saariaho\u003c/a>, and the text of \u003cem>La Passion de Josephine Baker: A Portrait\u003c/em> is from poet \u003ca href=\"http://claudiarankine.com/\" target=\"_blank\" rel=\"noopener\">Claudia Rankine\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607629\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-400x400.jpg\" alt=\"Merola Opera's Transformations\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/A-Merola-2006-Transformations-Photo-by-Kristen-Loken-157-e1464288504221.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Snow White (Ani Maldjian) in the Merola Opera Program’s 2006 production of Conrad Susa’s Transformations. \u003ccite>(Photo: Merola Opera Program/Kristen Loken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Merola Opera Program’s \u003ca href=\"http://merola.org/calendar\" target=\"_blank\" rel=\"noopener\">\u003cem>Transformations\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>San Francisco Conservatory of Music\u003cbr>\nJuly 21 and 23\u003c/h5>\n\u003cp>Merola, the summer opera training program associated with San Francisco Opera, is presenting Conrad Susa’s \u003cem>Transformations\u003c/em> as one of two fully-staged works this year. Based on Anne Sexton’s collection of confessional poetry of the same name, the piece is set in a mental hospital. The poems are dark re-tellings of Grimm’s fairy tales that deal with madness, desire, cannibalism and incest.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607631\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11607631\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-400x267.jpg\" alt=\"Oakland 16th Street Station\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/weo-abandoned-oakland-train-station-2016-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland’s 16th Street Station, abandoned in 1994, will host West Edge Opera’s 2016 Festival. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>West Edge Opera’s \u003ca href=\"http://www.westedgeopera.org/powder-her-face/\" target=\"_blank\" rel=\"noopener\">\u003cem>Powder Her Face\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>16th Street Station, Oakland\u003cbr>\nJuly 31 to Aug. 13\u003c/h5>\n\u003cp>Following the resounding success of last year’s festival, West Edge Opera presents the whole 2016 season at the abandoned train station in West Oakland. The most daring offering of the three operas is certainly British composer Thomas Adès’ \u003cem>Powder Her Face\u003c/em>, which follows the sexual exploits of Margaret Campbell, the so-called \u003ca href=\"https://de.wikipedia.org/wiki/Margaret_Campbell,_Duchess_of_Argyll\" target=\"_blank\" rel=\"noopener\">“Dirty” Duchess of Argyll\u003c/a>, whose divorce proceedings in 1963 caused a huge scandal. The opera is best known for a wordless depiction of fellatio, the scene based on salacious photographs the Duke of Argyll produced as evidence of infidelity in the divorce case.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11607632\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-400x400.jpg\" alt=\"Festival Opera Abduction from the Seraglio 2016\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11607632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/festival-opera-seraglio-sa2016-e1464290699857.jpg 680w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Brian Cheney plays a character resembling Captain Kirk from “Star Trek” in Mozart’s Abduction from the Seraglio. \u003ccite>(Photo: Pacific Opera Project/Martha Benedict)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Festival Opera’s \u003ca href=\"http://www.festivalopera.org/abduction16.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Abduction from the Seraglio\u003c/em>\u003c/a>\u003c/h3>\n\u003ch5>Valley Center for the Performing Arts, Oakland\u003cbr>\nAug. 5 to 9\u003c/h5>\n\u003cp>Nerds rejoice! Walnut Creek-based Festival Opera is performing Mozart’s \u003cem>Abduction from the Seraglio\u003c/em> with a twist, setting it in space instead of a harem. This collaboration with Oakland Symphony is a re-imagining of the Mozart Singspiel as a parody of the original \u003cem>Star Trek\u003c/em> and should prove quite fun. The libretto has been translated into English, the main characters corresponding to Captain Kirk and Mister Spock, and so forth. The possibilities as far as the sexy alien ladies of \u003cem>Star Trek\u003c/em> should work well, given the orientalist slant of the Mozart plot.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "rattle-your-soul-a-guide-to-summer-theater-focused-on-radical-disruption",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11638282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Summer is the season where you dream of nothing happening, and yet, strangely, it is also the season for radical transformations. So in honor of both the calm and the disruption that blue skies and heat bring, here are some theatrical productions that will give your soul a good rattling and give definition to the dreamiest time of the year.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11608279\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11608279 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-800x533.jpg\" alt=\"The Imaginists: Life is a dream\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Life is anything but a dream for the captive Prince in The Imaginists’ production of Pedro Calderon’s ‘Life is a Dream.’ (Photo: Courtesy of the company)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Imaginists’ \u003cem>Life is a Dream\u003c/em>\u003c/h3>\n\u003ch5>June 24 – July 24\u003cbr>\nVarious Parks in Santa Rosa\u003cbr>\n\u003ca href=\"http://theimaginists.org/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>Santa Rosa’s The Imaginists is the type of theater company you wish every city had: deeply committed to the community where they reside, yet full of a cosmopolitan dash and daring. This summer they’re touring the parks of their home city with Pedro Calderon’s classic shocker of a nightmare, \u003cem>Life is a Dream\u003c/em>. It will be a pleasure to see how the Imaginists’ sly aesthetic shapes Calderon’s odd tale of a Prince raised in captivity and suddenly freed to rule his country.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11608295\" class=\"wp-caption alignleft\" style=\"max-width: 574px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11608295\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Othello_imageedited-574x600.jpg\" alt=\"Ubuntu Theater Project examines the greatest sting in theatrical history, Iago's take down of Othello in 'Othello.'\" width=\"574\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Othello_imageedited-574x600.jpg 574w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Othello_imageedited-400x418.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Othello_imageedited-768x803.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Othello_imageedited-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Othello_imageedited.jpg 772w\" sizes=\"(max-width: 574px) 100vw, 574px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project examines the greatest sting in theatrical history, Iago’s take down of Othello in ‘Othello.’ (Photo: Courtesy of the company)\u003c/figcaption>\u003c/figure>\n\u003ch3>Ubuntu Theater Project’s \u003cem>Othello\u003c/em> and \u003cem>Hurt Village\u003c/em>\u003c/h3>\n\u003ch5>\u003cem>Othello\u003c/em> at Emmet Eiland’s Oriental Rug Company, Berkeley, June 10 – 26\u003cbr>\n\u003cem>Hurt Village\u003c/em> at TBA, Oakland, July 15 – 31\u003cbr>\n\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Ubuntu Theater Project is in the middle of a vibrant and daring first season. This summer, they’re going for the theatrical jugular and then some. First up is Shakespeare’s \u003cem>Othello\u003c/em> to be performed at Emmet Eiland’s Oriental Rug Company in Berkeley and then Katori Hall’s \u003cem>Hurt Village\u003c/em>, a play that starts with a housing crisis (a theme of the Ubuntu season) and then slips into full-blown disaster for its 13-year old rapper-heroine. Sometimes melodrama makes searing drama and a burning hot summer day is a good time to find out.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11610074\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11610074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SarahShroud-800x533.jpg\" alt=\"Playwright Sarah Shroud shines the light on the torture of confinement in 'The Box.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Sarah Shroud shines the light on the torture of confinement in ‘The Box.’ (Photo: Liam Passmore)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem> The Box\u003c/em>\u003c/h3>\n\u003ch5>July 8 – 30\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>We don’t think about what it’s like to be in prison enough, and especially during the carefree days of summer. Journalist Sarah Shourd spent 410 days in solitary confinement in Iran. Since being released, she has travelled the country interviewing prisoners that experienced some of the most brutal forms of confinement. Those experiences have become the spark for her play, \u003cem>The Box\u003c/em>, opening at the Z Space in July.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11612869\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11612869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-800x534.jpg\" alt=\"The beautiful setting of the Bruns Amphitheater.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The beautiful setting of the Bruns Amphitheater. (Photo: Courtesy of the company)\u003c/figcaption>\u003c/figure>\n\u003ch3>Cal Shakes’ \u003cem>You Never Can Tell\u003c/em>\u003c/h3>\n\u003ch5>Aug. 10 – Sept. 4\u003cbr>\nBruns Amphitheater, Orinda\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Cal Shakes is, of course, known for producing summer Shakespeare. And George Bernard Shaw is known for taking polemical stands in his plays. But what’s known is not often what’s true. In recent years the Bay Area’s preeminent Shakespeare Company has been expanding its repertory beyond the greatest playwright ever, and Shaw the polemicist often wrote beautifully of love, its failures and sometimes successes. So, for a bit of counter-intuitive theater going, amble over to Cal Shakes’ production of George Bernard Shaw’s \u003cem>You Never Can Tell\u003c/em>. As delightful as \u003cem>Love’s Labour’s Lost\u003c/em> and \u003cem>As You Like It\u003c/em>, this romantic round-de-lay won’t leave you at a loss for Shavian intellect and Shakespearian scope.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11611107\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611107\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/RAWdance-800x533.jpeg\" alt=\"Wendy Rein and Ryan T. Smith of RAWdance\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-960x640.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wendy Rein and Ryan T. Smith of RAWdance. (Photo: Courtesy of the company)\u003c/figcaption>\u003c/figure>\n\u003ch3>RAWdance’s \u003cem>Double Exposure\u003c/em>\u003c/h3>\n\u003ch5>July 28 – 30\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.odcdance.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>RAWdance’s stunning dances are like drifting through a waking dream — everything is clear but maddeningly elusive. So the world premiere of \u003cem>Double Exposure\u003c/em> at ODC will be a perfect way to end the long light of a summer day. RAWdance’s artistic directors, Ryan T. Smith and Wendy Rein will perform 12 duets by 16 choreographers (even the math is bafflingly clear) as they upend traditional notions of creative control. Let go and follow them into the dark of a summer night.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11615750\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11615750\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-800x296.jpg\" alt=\"A wild party is coming to the San Jose Stage Company.\" width=\"800\" height=\"296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-800x296.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-400x148.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-768x284.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-1180x437.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-1920x711.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-960x356.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image.jpg 1944w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wild party is coming to the San Jose Stage Company.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Wild Party\u003c/em>\u003c/h3>\n\u003ch5>June 2 – July 24\u003cbr>\nThe San Jose Stage, San Jose\u003cbr>\n\u003ca href=\"http://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Who doesn’t want to be invited to a Wild Party? And one in the summer is simply irresistible. San Jose Stage’s production of Andrew Lippa’s musical \u003cem>The Wild Party\u003c/em>—based on the Joseph Moncure Marsh poem might make you think twice about taking that second, third, or fifth drink, or bringing that loaded gun to a wild party. When a clown and a showgirl love each other, hate and despair can’t be far away.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11638282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Summer is the season where you dream of nothing happening, and yet, strangely, it is also the season for radical transformations. So in honor of both the calm and the disruption that blue skies and heat bring, here are some theatrical productions that will give your soul a good rattling and give definition to the dreamiest time of the year.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11608279\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11608279 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-800x533.jpg\" alt=\"The Imaginists: Life is a dream\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Imaginists-Life-is-a-dream-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Life is anything but a dream for the captive Prince in The Imaginists’ production of Pedro Calderon’s ‘Life is a Dream.’ (Photo: Courtesy of the company)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Imaginists’ \u003cem>Life is a Dream\u003c/em>\u003c/h3>\n\u003ch5>June 24 – July 24\u003cbr>\nVarious Parks in Santa Rosa\u003cbr>\n\u003ca href=\"http://theimaginists.org/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>Santa Rosa’s The Imaginists is the type of theater company you wish every city had: deeply committed to the community where they reside, yet full of a cosmopolitan dash and daring. This summer they’re touring the parks of their home city with Pedro Calderon’s classic shocker of a nightmare, \u003cem>Life is a Dream\u003c/em>. It will be a pleasure to see how the Imaginists’ sly aesthetic shapes Calderon’s odd tale of a Prince raised in captivity and suddenly freed to rule his country.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11608295\" class=\"wp-caption alignleft\" style=\"max-width: 574px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11608295\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Othello_imageedited-574x600.jpg\" alt=\"Ubuntu Theater Project examines the greatest sting in theatrical history, Iago's take down of Othello in 'Othello.'\" width=\"574\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Othello_imageedited-574x600.jpg 574w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Othello_imageedited-400x418.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Othello_imageedited-768x803.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Othello_imageedited-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Othello_imageedited.jpg 772w\" sizes=\"(max-width: 574px) 100vw, 574px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project examines the greatest sting in theatrical history, Iago’s take down of Othello in ‘Othello.’ (Photo: Courtesy of the company)\u003c/figcaption>\u003c/figure>\n\u003ch3>Ubuntu Theater Project’s \u003cem>Othello\u003c/em> and \u003cem>Hurt Village\u003c/em>\u003c/h3>\n\u003ch5>\u003cem>Othello\u003c/em> at Emmet Eiland’s Oriental Rug Company, Berkeley, June 10 – 26\u003cbr>\n\u003cem>Hurt Village\u003c/em> at TBA, Oakland, July 15 – 31\u003cbr>\n\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Ubuntu Theater Project is in the middle of a vibrant and daring first season. This summer, they’re going for the theatrical jugular and then some. First up is Shakespeare’s \u003cem>Othello\u003c/em> to be performed at Emmet Eiland’s Oriental Rug Company in Berkeley and then Katori Hall’s \u003cem>Hurt Village\u003c/em>, a play that starts with a housing crisis (a theme of the Ubuntu season) and then slips into full-blown disaster for its 13-year old rapper-heroine. Sometimes melodrama makes searing drama and a burning hot summer day is a good time to find out.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11610074\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11610074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SarahShroud-800x533.jpg\" alt=\"Playwright Sarah Shroud shines the light on the torture of confinement in 'The Box.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SarahShroud.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Sarah Shroud shines the light on the torture of confinement in ‘The Box.’ (Photo: Liam Passmore)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem> The Box\u003c/em>\u003c/h3>\n\u003ch5>July 8 – 30\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>We don’t think about what it’s like to be in prison enough, and especially during the carefree days of summer. Journalist Sarah Shourd spent 410 days in solitary confinement in Iran. Since being released, she has travelled the country interviewing prisoners that experienced some of the most brutal forms of confinement. Those experiences have become the spark for her play, \u003cem>The Box\u003c/em>, opening at the Z Space in July.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11612869\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11612869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-800x534.jpg\" alt=\"The beautiful setting of the Bruns Amphitheater.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2006_SSH_AS-YOU-LIKE-IT-2.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The beautiful setting of the Bruns Amphitheater. (Photo: Courtesy of the company)\u003c/figcaption>\u003c/figure>\n\u003ch3>Cal Shakes’ \u003cem>You Never Can Tell\u003c/em>\u003c/h3>\n\u003ch5>Aug. 10 – Sept. 4\u003cbr>\nBruns Amphitheater, Orinda\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Cal Shakes is, of course, known for producing summer Shakespeare. And George Bernard Shaw is known for taking polemical stands in his plays. But what’s known is not often what’s true. In recent years the Bay Area’s preeminent Shakespeare Company has been expanding its repertory beyond the greatest playwright ever, and Shaw the polemicist often wrote beautifully of love, its failures and sometimes successes. So, for a bit of counter-intuitive theater going, amble over to Cal Shakes’ production of George Bernard Shaw’s \u003cem>You Never Can Tell\u003c/em>. As delightful as \u003cem>Love’s Labour’s Lost\u003c/em> and \u003cem>As You Like It\u003c/em>, this romantic round-de-lay won’t leave you at a loss for Shavian intellect and Shakespearian scope.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11611107\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611107\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/RAWdance-800x533.jpeg\" alt=\"Wendy Rein and Ryan T. Smith of RAWdance\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RAWdance-960x640.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wendy Rein and Ryan T. Smith of RAWdance. (Photo: Courtesy of the company)\u003c/figcaption>\u003c/figure>\n\u003ch3>RAWdance’s \u003cem>Double Exposure\u003c/em>\u003c/h3>\n\u003ch5>July 28 – 30\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://www.odcdance.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>RAWdance’s stunning dances are like drifting through a waking dream — everything is clear but maddeningly elusive. So the world premiere of \u003cem>Double Exposure\u003c/em> at ODC will be a perfect way to end the long light of a summer day. RAWdance’s artistic directors, Ryan T. Smith and Wendy Rein will perform 12 duets by 16 choreographers (even the math is bafflingly clear) as they upend traditional notions of creative control. Let go and follow them into the dark of a summer night.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11615750\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11615750\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-800x296.jpg\" alt=\"A wild party is coming to the San Jose Stage Company.\" width=\"800\" height=\"296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-800x296.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-400x148.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-768x284.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-1180x437.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-1920x711.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image-960x356.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/The-Wild-Party-image.jpg 1944w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wild party is coming to the San Jose Stage Company.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Wild Party\u003c/em>\u003c/h3>\n\u003ch5>June 2 – July 24\u003cbr>\nThe San Jose Stage, San Jose\u003cbr>\n\u003ca href=\"http://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Who doesn’t want to be invited to a Wild Party? And one in the summer is simply irresistible. San Jose Stage’s production of Andrew Lippa’s musical \u003cem>The Wild Party\u003c/em>—based on the Joseph Moncure Marsh poem might make you think twice about taking that second, third, or fifth drink, or bringing that loaded gun to a wild party. When a clown and a showgirl love each other, hate and despair can’t be far away.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp style=\"color: #000000\">Ira Glass, host and creator of \u003cem>This American Life\u003c/em>, began his career interning at NPR headquarters and has worked on nearly every NPR network news program since. Under his direction \u003cem>This American Life\u003c/em> has won the highest honors for broadcasting and journalistic excellence. He's speaking at \u003ca href=\"http://www.axs.com/events/306639/ira-glass-tickets?skin=mountainwinery\" target=\"_blank\">The Mountain Winery\u003c/a> on Saturday, August 6, and we've got a pair of tickets worth $110 to give away!\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of w\u003c/strong>\u003cstrong>inning them, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Ira\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select two winners for a pair of tickets (worth $55 each.) \u003cstrong>Deadline to enter is Wednesday, June 8 at 9 am.\u003c/strong> Winners will be notified by e-mail on Tuesday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/about/event/an-evening-with-ira-glass-at-the-mountain-winery/\">An Evening With Ira Glass at The Mountain Winery\u003cbr>\n\u003c/a>Sat, Aug 6, 2016 at 7:30PM\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.axs.com/events/306639/ira-glass-tickets?skin=mountainwinery\" target=\"_blank\">The Mountain Winery\u003c/a>, 14831 Pierce Road, Saratoga, CA 95070\u003cstrong>\u003cem>\u003ca href=\"https://themoth.org/events/siblings-berkeley\" target=\"_blank\">\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"color: #000000\">Ira Glass, host and creator of \u003cem>This American Life\u003c/em>, began his career interning at NPR headquarters and has worked on nearly every NPR network news program since. Under his direction \u003cem>This American Life\u003c/em> has won the highest honors for broadcasting and journalistic excellence. He's speaking at \u003ca href=\"http://www.axs.com/events/306639/ira-glass-tickets?skin=mountainwinery\" target=\"_blank\">The Mountain Winery\u003c/a> on Saturday, August 6, and we've got a pair of tickets worth $110 to give away!\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of w\u003c/strong>\u003cstrong>inning them, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Ira\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select two winners for a pair of tickets (worth $55 each.) \u003cstrong>Deadline to enter is Wednesday, June 8 at 9 am.\u003c/strong> Winners will be notified by e-mail on Tuesday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/about/event/an-evening-with-ira-glass-at-the-mountain-winery/\">An Evening With Ira Glass at The Mountain Winery\u003cbr>\n\u003c/a>Sat, Aug 6, 2016 at 7:30PM\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.axs.com/events/306639/ira-glass-tickets?skin=mountainwinery\" target=\"_blank\">The Mountain Winery\u003c/a>, 14831 Pierce Road, Saratoga, CA 95070\u003cstrong>\u003cem>\u003ca href=\"https://themoth.org/events/siblings-berkeley\" target=\"_blank\">\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ray of Light's 'The Wild Party' is a Wild Party",
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"content": "\u003cp>The 20th century American poet and essayist Joseph Moncure Marsh’s \u003cem>The Wild Party\u003c/em> is a singular piece of American poetry. Capturing the seamy-steamy atmosphere of a Prohibition-era blow out, it is lurid, epic, and written in a jazzy doggerel verse. March doesn’t even try to lay claim to a modernism that he was so clearly racing ahead of. Eliot, Pound, Crane, and Stevens might have filched bits of pop culture to give their poems a little shock of the real, but March’s masterpiece was the authentic thing — slimy, violent, alive, and cheap in its intentions and effects.\u003c/p>\n\u003cp>Translating trashy art from one form to another is tricky business, and the American musical’s roots have tended towards \u003cem>Sound of Music\u003c/em> wholesomeness, rather than March’s violent vision of love. But composer/lyricist/book writer Andrew Lippa’s musical version of March’s classic — also entitled \u003cem>The Wild Party —\u003c/em> catches it all and plays a few tricks of its own along the way. It’s as nutty and chancy as the poem, and in some ways more expansive, loose, and American in feel.\u003c/p>\n\u003cfigure id=\"attachment_11613416\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11613416 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-800x533.jpg\" alt=\"wildpartyproduction5\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burrs (Paul Grant Hovannes) brews in Ray of Lights’ ‘The Wild Party.’ (Photo: Nick Otto)\u003c/figcaption>\u003c/figure>\n\u003cp>March found something mythic in the love story between showgirl Queenie and her clown of a boyfriend, Burrs, who actually is a clown. The role is played by a commanding Paul Grant Hovannes in \u003ca href=\"http://rayoflighttheatre.com/wild-party/\" target=\"_blank\" rel=\"noopener\">Ray of Light Theatre\u003c/a>‘s production. You can feel the killer and the comic in Burr’s name, especially in the the way it slides off the tongue when Queenie (a fine Jocelyn Pickett) sings his name throughout the show. Every time you hear Burrs’ name, it jolts; those\u003cem> rrrrrr’s\u003c/em> smear contempt.\u003c/p>\n\u003cp>What we’re here for, though, is a party — the cure Queenie and Burrs seek for their failing relationship. And Lippa is an obliging host, delivering the goods with the slick verve of the slimiest paparazzi. Everything is frenzied, and yet each moment is vivid, distinct, and alive. The score, a mélange of jazz, blues, show tunes, rock, pop ballads, anything that gets Lippa to the brutal core of Queenie and Burrs’ desperate love, is loose yet elaborately structured.\u003c/p>\n\u003cfigure id=\"attachment_11613415\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11613415\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-800x533.jpg\" alt=\"Ramond Thomas as Black sings of his despair for Queenie.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramond Thomas as Black sings of his despair for Queenie. (Photo: Nick Otto)\u003c/figcaption>\u003c/figure>\n\u003cp>And so Lippa can blindside you with real feeling, as if sleaze and an anything goes attitude were the fastest way to our hearts. When the mysterious Black (a sharp and understated Ramond Thomas) sings of his attraction to and despair for Queenie in his beautiful ballad, “Poor Child,” the broad, archetypal outlines of the characters turn shocking and real. The same is true when Queenie sings of Burrs’ violence, “Maybe I Like It This Way,” or Burrs’ scream of “\u003cem>Nooooooooooooooooo!\u003c/em>” at the end of the tiki lounge-inspired, “What Is It About Her.” These are real people, not jokes, and so we can suffer with them. And Party. And ruin our lives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Marsh’s doggerel verse, Lippa’s \u003cem>Wild Party\u003c/em> is highly structured and always on the verge of spinning out of control. And the same compliment should be extended to Ray of Light’s vibrant, propulsive production. It’s not perfect and sometimes the acting and staging falters. But in their desire to get at the burning soul of real people, of real feeling, and of why self-destruction is sometimes preferable to just going on, the cast and crew give us a wild party that March would recognize — trashy, alive, and game to risk everything.\u003c/p>\n\u003cfigure id=\"attachment_11613418\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11613418 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/WildParty_6-800x533.jpg\" alt=\"WildParty_6\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Burrs (Paul Grant Hovannes), Queenie (Jocelyn Pickett), and Black (Ramond Thomas) are ready to go wild in Ray of Light’s ‘The Wild Party.’ (Photo: Erik Scanlon)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Wild Party\u003c/em> plays at the Victoria Theater in San Francisco through Saturday, Jun. 11. \u003c/strong>\u003cstrong>For tickets and information head \u003ca href=\"http://www.rayoflighttheatre.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Also, San Jose Stage opens its own production of \u003cem>The Wild Party\u003c/em> on Wednesday, Jun. 1. The show runs through Sunday, Jul. 28. Find out more about this South Bay production \u003ca href=\"http://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n",
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"excerpt": "Joseph Moncure Marsh's epic 1928 poem, turned into a musical by Andrew Lippa, captures the seamy-steamy atmosphere of a Prohibition-era shindig",
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"description": "Joseph Moncure Marsh's epic 1928 poem, turned into a musical by Andrew Lippa, captures the seamy-steamy atmosphere of a Prohibition-era shindig",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 20th century American poet and essayist Joseph Moncure Marsh’s \u003cem>The Wild Party\u003c/em> is a singular piece of American poetry. Capturing the seamy-steamy atmosphere of a Prohibition-era blow out, it is lurid, epic, and written in a jazzy doggerel verse. March doesn’t even try to lay claim to a modernism that he was so clearly racing ahead of. Eliot, Pound, Crane, and Stevens might have filched bits of pop culture to give their poems a little shock of the real, but March’s masterpiece was the authentic thing — slimy, violent, alive, and cheap in its intentions and effects.\u003c/p>\n\u003cp>Translating trashy art from one form to another is tricky business, and the American musical’s roots have tended towards \u003cem>Sound of Music\u003c/em> wholesomeness, rather than March’s violent vision of love. But composer/lyricist/book writer Andrew Lippa’s musical version of March’s classic — also entitled \u003cem>The Wild Party —\u003c/em> catches it all and plays a few tricks of its own along the way. It’s as nutty and chancy as the poem, and in some ways more expansive, loose, and American in feel.\u003c/p>\n\u003cfigure id=\"attachment_11613416\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11613416 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-800x533.jpg\" alt=\"wildpartyproduction5\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burrs (Paul Grant Hovannes) brews in Ray of Lights’ ‘The Wild Party.’ (Photo: Nick Otto)\u003c/figcaption>\u003c/figure>\n\u003cp>March found something mythic in the love story between showgirl Queenie and her clown of a boyfriend, Burrs, who actually is a clown. The role is played by a commanding Paul Grant Hovannes in \u003ca href=\"http://rayoflighttheatre.com/wild-party/\" target=\"_blank\" rel=\"noopener\">Ray of Light Theatre\u003c/a>‘s production. You can feel the killer and the comic in Burr’s name, especially in the the way it slides off the tongue when Queenie (a fine Jocelyn Pickett) sings his name throughout the show. Every time you hear Burrs’ name, it jolts; those\u003cem> rrrrrr’s\u003c/em> smear contempt.\u003c/p>\n\u003cp>What we’re here for, though, is a party — the cure Queenie and Burrs seek for their failing relationship. And Lippa is an obliging host, delivering the goods with the slick verve of the slimiest paparazzi. Everything is frenzied, and yet each moment is vivid, distinct, and alive. The score, a mélange of jazz, blues, show tunes, rock, pop ballads, anything that gets Lippa to the brutal core of Queenie and Burrs’ desperate love, is loose yet elaborately structured.\u003c/p>\n\u003cfigure id=\"attachment_11613415\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11613415\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-800x533.jpg\" alt=\"Ramond Thomas as Black sings of his despair for Queenie.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramond Thomas as Black sings of his despair for Queenie. (Photo: Nick Otto)\u003c/figcaption>\u003c/figure>\n\u003cp>And so Lippa can blindside you with real feeling, as if sleaze and an anything goes attitude were the fastest way to our hearts. When the mysterious Black (a sharp and understated Ramond Thomas) sings of his attraction to and despair for Queenie in his beautiful ballad, “Poor Child,” the broad, archetypal outlines of the characters turn shocking and real. The same is true when Queenie sings of Burrs’ violence, “Maybe I Like It This Way,” or Burrs’ scream of “\u003cem>Nooooooooooooooooo!\u003c/em>” at the end of the tiki lounge-inspired, “What Is It About Her.” These are real people, not jokes, and so we can suffer with them. And Party. And ruin our lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Marsh’s doggerel verse, Lippa’s \u003cem>Wild Party\u003c/em> is highly structured and always on the verge of spinning out of control. And the same compliment should be extended to Ray of Light’s vibrant, propulsive production. It’s not perfect and sometimes the acting and staging falters. But in their desire to get at the burning soul of real people, of real feeling, and of why self-destruction is sometimes preferable to just going on, the cast and crew give us a wild party that March would recognize — trashy, alive, and game to risk everything.\u003c/p>\n\u003cfigure id=\"attachment_11613418\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11613418 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/WildParty_6-800x533.jpg\" alt=\"WildParty_6\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Burrs (Paul Grant Hovannes), Queenie (Jocelyn Pickett), and Black (Ramond Thomas) are ready to go wild in Ray of Light’s ‘The Wild Party.’ (Photo: Erik Scanlon)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Wild Party\u003c/em> plays at the Victoria Theater in San Francisco through Saturday, Jun. 11. \u003c/strong>\u003cstrong>For tickets and information head \u003ca href=\"http://www.rayoflighttheatre.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Also, San Jose Stage opens its own production of \u003cem>The Wild Party\u003c/em> on Wednesday, Jun. 1. The show runs through Sunday, Jul. 28. Find out more about this South Bay production \u003ca href=\"http://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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