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Rose, reading in her room, offers only silence — a ploy common for Emma, yet new to Hidge.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Such begins the slow-burn tension that permeates Meghan Kennedy’s debut play at Redwood City’s \u003ca href=\"http://dragonproductions.net/\" target=\"_blank\" rel=\"noopener\">Dragon Theatre\u003c/a>, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Too Much, Too Much, Too Many\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which offers a nuanced take on the towering effects of grief.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While director Nancy McClymont knew Dragon Theatre’s \u003c/span>\u003cspan style=\"font-weight: 400\">intimate, 65-seat black box space was a great fit for the material, she was worried the heavy subject matter of Kennedy’s drama might not be a huge draw. \u003c/span>\u003c/p>\n\u003cp>\u003cb>“\u003c/b>\u003cspan style=\"font-weight: 400\">I didn’t know if 11 audiences would be interested enough in grief,” McClymont says. Instead, she was surprised to see how well the story connected with patrons. \u003c/span>\u003cb>“\u003c/b>\u003cspan style=\"font-weight: 400\">So many people have reached out to me to tell me their stories – how they were particularly touched by the play and why it mattered to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Taking risks — in Redwood City\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dragon Theatre prides itself finding receptive audiences for work that frequently involves taking creative chances, like its recent production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lo Speziale\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an obscure Baroque opera by Franz Joseph Haydn that the company set in a squalid meth lab, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Breaking Bad\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">-style.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On May 6, Dragon Theatre continues its season with \u003cem>When the Rain Stops Falling, \u003c/em>a family saga whose timeline stretches from 1959 to 2039. With a story that jumps between past, present and future, the plays explores whether we’re able to deviate from the past, or if we’re doomed to re-live patterns that seem to be embedded in our DNA.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The relatively daring programming choices are no mean feat for an arts organization located in downtown Redwood City — a place that has a small, burgeoning arts scene, but can hardly be considered a cultural metropolis. Yet it’s that healthy appetite for risk, coupled with a constant desire to highlight unsung narratives, that has helped Dragon Theatre to gain traction in the peninsula’s performance landscape. \u003c/span>\u003c/p>\n\u003cp>“Being that type of a company in Redwood City — that alone is pretty unusual,” says Brad Erickson, executive director of the regional performing arts support organization, Theatre Bay Area. “I think they’re having an impact both in the field and the city in a way that’s pretty impressive for a relatively small company.”\u003c/p>\n\u003cfigure id=\"attachment_11511676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11511676 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550.jpg\" alt=\"Kelly Battcher (Emma) and W. Scott Whisler (James) in Dragon Theatre’s 2nd Stages production ‘Too Much, Too Much, Too Many.’\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550-768x528.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Battcher (Emma) and W. Scott Whisler (James) in Dragon Theatre’s 2nd Stages production ‘Too Much, Too Much, Too Many.’ (Photo: Kimberlee Wittlieb) \u003ccite>(Photo: Kimberlee Wittlieb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a road-map artistic director Meredith Hagedorn has followed since founding Dragon Theatre 15 years ago. While leading a then-nomadic company that essentially lived out of her car, Hagedorn hoped to build a space for her work in the middle of downtown Palo Alto. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a Palo Alto Chamber of Commerce mixer, Hagedorn found someone willing to lease her space, which the director transformed into a 2500 square foot, 42-seat theater within walking distance of downtown Palo Alto’s busy University Avenue. “The main reason it was able to happen is because I really didn’t know what I was getting into,” Hagedorn says. “I really didn’t know what it all meant. I just knew that I would need to learn a lot.”\u003c/span>\u003c/p>\n\u003cp>Hagedorn felt her company had maxed out its revenue potential in the tiny University Avenue space. So in 2012, she moved Dragon Theatre to its present location in Redwood City.\u003c/p>\n\u003cp>\u003cstrong>The local theatrical landscape\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The venue is located a block from the historic Fox Theatre, which periodically houses musicals produced by the local musicals producer Broadway by the Bay. Redwood City Community Theatre, another nearby company, is similarly focused on crowd-pleasing fare. \u003c/span>\u003c/p>\n\u003cp>“There has been a plan in the works for a long time to really encourage and support the presence of art and culture downtown,” says Alicia Jeffrey, executive artistic director for Broadway By the Bay. “With the success that we see, and the success and interest that Dragon sees, I think it’s paying off. I think we’re lucky to have each other in that one block.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By contrast, Dragon Theatre consistently tackles edgier material — Hagedorn mentions Shotgun Players in Berkeley and Custom Made Theatre in San Francisco as companies with a similar intention of creating high quality productions whose stories, as she puts it, stay “off the beaten path.”\u003c/span>\u003c/p>\n\u003cp>However, taking creative risks is never stress-free. With an annual operating budget of $350,000, Dragon Theatre is currently producing eight shows per season to maintain its space. The rent rises incrementally each year, but Hagedorn puts up with the elevated price of housing her company in a high-visibility location because she says it enables Dragon Theatre to forge essential community and commercial partnerships in addition to attracting curious passers-by.\u003c/p>\n\u003cp>But making rent is a constant concern. “I think about the bills and overhead every day,” she says. Luckily for Dragon Theatre, Hagedorn’s husband, who’s involved in the tech industry, has helped the company manage shortfalls at times. But Hagedorn says she and the theatre’s board are in the process of pursuing a long-term solution to the company’s current business model.\u003c/p>\n\u003cp>\u003cstrong>Nurturing talent\u003c/strong>\u003c/p>\n\u003cp>Dragon Theatre’s output currently includes both fully professional shows and the “2nd Stages” series, which mentors emerging producers through the process of creating a full production from start to finish. The company offers space, marketing tools, set materials, and seed funding to program participants.\u003c/p>\n\u003cp>“Since I’ve been doing this now for many years, I want to share the love,” Hagedorn says. “That’s how Dragon began. I was looking for opportunities and couldn’t find them. There were stories I wanted to tell, so I knew I had to make them happen for myself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Dragon Theatre’s next production, “When the Rain Stops Falling” opens Friday, May 6. \u003c/i>\u003ca href=\"http://dragonproductions.net/\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">From behind a closed door, Emma introduces her mother Rose to fresh-faced Pastor Hidge, a man committed to connecting with a woman who’s locked herself away from the world for six months in the wake of her husband’s death. Rose, reading in her room, offers only silence — a ploy common for Emma, yet new to Hidge.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Such begins the slow-burn tension that permeates Meghan Kennedy’s debut play at Redwood City’s \u003ca href=\"http://dragonproductions.net/\" target=\"_blank\" rel=\"noopener\">Dragon Theatre\u003c/a>, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Too Much, Too Much, Too Many\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which offers a nuanced take on the towering effects of grief.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While director Nancy McClymont knew Dragon Theatre’s \u003c/span>\u003cspan style=\"font-weight: 400\">intimate, 65-seat black box space was a great fit for the material, she was worried the heavy subject matter of Kennedy’s drama might not be a huge draw. \u003c/span>\u003c/p>\n\u003cp>\u003cb>“\u003c/b>\u003cspan style=\"font-weight: 400\">I didn’t know if 11 audiences would be interested enough in grief,” McClymont says. Instead, she was surprised to see how well the story connected with patrons. \u003c/span>\u003cb>“\u003c/b>\u003cspan style=\"font-weight: 400\">So many people have reached out to me to tell me their stories – how they were particularly touched by the play and why it mattered to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Taking risks — in Redwood City\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dragon Theatre prides itself finding receptive audiences for work that frequently involves taking creative chances, like its recent production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lo Speziale\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an obscure Baroque opera by Franz Joseph Haydn that the company set in a squalid meth lab, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Breaking Bad\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">-style.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On May 6, Dragon Theatre continues its season with \u003cem>When the Rain Stops Falling, \u003c/em>a family saga whose timeline stretches from 1959 to 2039. With a story that jumps between past, present and future, the plays explores whether we’re able to deviate from the past, or if we’re doomed to re-live patterns that seem to be embedded in our DNA.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The relatively daring programming choices are no mean feat for an arts organization located in downtown Redwood City — a place that has a small, burgeoning arts scene, but can hardly be considered a cultural metropolis. Yet it’s that healthy appetite for risk, coupled with a constant desire to highlight unsung narratives, that has helped Dragon Theatre to gain traction in the peninsula’s performance landscape. \u003c/span>\u003c/p>\n\u003cp>“Being that type of a company in Redwood City — that alone is pretty unusual,” says Brad Erickson, executive director of the regional performing arts support organization, Theatre Bay Area. “I think they’re having an impact both in the field and the city in a way that’s pretty impressive for a relatively small company.”\u003c/p>\n\u003cfigure id=\"attachment_11511676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11511676 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550.jpg\" alt=\"Kelly Battcher (Emma) and W. Scott Whisler (James) in Dragon Theatre’s 2nd Stages production ‘Too Much, Too Much, Too Many.’\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550-768x528.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Battcher (Emma) and W. Scott Whisler (James) in Dragon Theatre’s 2nd Stages production ‘Too Much, Too Much, Too Many.’ (Photo: Kimberlee Wittlieb) \u003ccite>(Photo: Kimberlee Wittlieb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a road-map artistic director Meredith Hagedorn has followed since founding Dragon Theatre 15 years ago. While leading a then-nomadic company that essentially lived out of her car, Hagedorn hoped to build a space for her work in the middle of downtown Palo Alto. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a Palo Alto Chamber of Commerce mixer, Hagedorn found someone willing to lease her space, which the director transformed into a 2500 square foot, 42-seat theater within walking distance of downtown Palo Alto’s busy University Avenue. “The main reason it was able to happen is because I really didn’t know what I was getting into,” Hagedorn says. “I really didn’t know what it all meant. I just knew that I would need to learn a lot.”\u003c/span>\u003c/p>\n\u003cp>Hagedorn felt her company had maxed out its revenue potential in the tiny University Avenue space. So in 2012, she moved Dragon Theatre to its present location in Redwood City.\u003c/p>\n\u003cp>\u003cstrong>The local theatrical landscape\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The venue is located a block from the historic Fox Theatre, which periodically houses musicals produced by the local musicals producer Broadway by the Bay. Redwood City Community Theatre, another nearby company, is similarly focused on crowd-pleasing fare. \u003c/span>\u003c/p>\n\u003cp>“There has been a plan in the works for a long time to really encourage and support the presence of art and culture downtown,” says Alicia Jeffrey, executive artistic director for Broadway By the Bay. “With the success that we see, and the success and interest that Dragon sees, I think it’s paying off. I think we’re lucky to have each other in that one block.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By contrast, Dragon Theatre consistently tackles edgier material — Hagedorn mentions Shotgun Players in Berkeley and Custom Made Theatre in San Francisco as companies with a similar intention of creating high quality productions whose stories, as she puts it, stay “off the beaten path.”\u003c/span>\u003c/p>\n\u003cp>However, taking creative risks is never stress-free. With an annual operating budget of $350,000, Dragon Theatre is currently producing eight shows per season to maintain its space. The rent rises incrementally each year, but Hagedorn puts up with the elevated price of housing her company in a high-visibility location because she says it enables Dragon Theatre to forge essential community and commercial partnerships in addition to attracting curious passers-by.\u003c/p>\n\u003cp>But making rent is a constant concern. “I think about the bills and overhead every day,” she says. Luckily for Dragon Theatre, Hagedorn’s husband, who’s involved in the tech industry, has helped the company manage shortfalls at times. But Hagedorn says she and the theatre’s board are in the process of pursuing a long-term solution to the company’s current business model.\u003c/p>\n\u003cp>\u003cstrong>Nurturing talent\u003c/strong>\u003c/p>\n\u003cp>Dragon Theatre’s output currently includes both fully professional shows and the “2nd Stages” series, which mentors emerging producers through the process of creating a full production from start to finish. The company offers space, marketing tools, set materials, and seed funding to program participants.\u003c/p>\n\u003cp>“Since I’ve been doing this now for many years, I want to share the love,” Hagedorn says. “That’s how Dragon began. I was looking for opportunities and couldn’t find them. There were stories I wanted to tell, so I knew I had to make them happen for myself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Dragon Theatre’s next production, “When the Rain Stops Falling” opens Friday, May 6. \u003c/i>\u003ca href=\"http://dragonproductions.net/\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Monsoon Wedding' Musical to Premiere at Berkeley Rep",
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"content": "\u003cp>\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theater\u003c/a> (Berkeley Rep) announced Wednesday, Apr. 20 that it will present a new musical based on the hit 2001 film \u003cem>Monsoon Wedding\u003c/em>, directed by Mira Nair.\u003c/p>\n\u003cp>“I have always envisioned \u003cem>Monsoon Wedding\u003c/em> as a fully fleshed out musical,” said Nair in a statement from Berkeley Rep, one of the region’s major theater companies, based in downtown Berkeley. “And to be working with Berkeley Rep to help tell that story just adds to the excitement. I know the end result will be something terrific.”\u003c/p>\n\u003cp>There have been plans for years to bring \u003cem>Monsoon Wedding\u003c/em> to Broadway as a musical, with open \u003ca href=\"https://www.facebook.com/monsoonweddingcasting/?fref=photo\" target=\"_blank\" rel=\"noopener\">casting calls in Palo Alto, New Jersey, and Houston\u003c/a>. \u003ca href=\"http://www.broadwayworld.com/article/Broadway-Bound-MONSOON-WEDDING-Musical-Gets-Winter-Lab-in-NYC-Choreographer-Bill-T-Jones-Joins-Creative-Team-20151103\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a> has reported that choreographer \u003ca href=\"http://www.newyorklivearts.org/company/bill-t-jones.php\" target=\"_blank\" rel=\"noopener\">Bill T. Jones \u003c/a>and music director \u003ca href=\"http://www.playbill.com/person/andy-einhorn-vault-0000005140\" target=\"_blank\" rel=\"noopener\">Andy Einhorn\u003c/a> would be involved with the New York production. But a spokesman for Berkeley Rep says the two Broadway veterans are not involved in the Berkeley production.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BIEJONYNrso\u003c/p>\n\u003cp>The movie and the stage musical track the adventures of an upper middle class Delhi family as it plans an arranged marriage between a daughter and an American man she’s never met. Sabrina Dhawan wrote the screenplay and is working on the Berkeley Rep stage adaptation, with Tony nominated lyricist Susan Birkenhead and Indian composer Vishal Bhardwaj joining the creative team.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s producers say the production is scheduled to open in the spring of 2017 at Berkeley Rep.\u003c/p>\n\u003cp>Nair, coincidentally, will receive the \u003ca href=\"http://blog.sffs.org/home/2016/4/mira-nair-between-two-worlds.html\" target=\"_blank\" rel=\"noopener\">Irving M. Levin Directing Award from the San Francisco Film Society at this year’s San Francisco International Film Festival.\u003c/a> The festival is also featuring an afternoon \u003ca href=\"http://www.sffs.org/sfiff59/films/irving-m-levin-directing-award-an-afternoon-with-mira-nair-monsoon-wedding#.Vxf8vvkrLIU\" target=\"_blank\" rel=\"noopener\">conversation with Nair at the Castro Theater on Sunday, Apr. 24\u003c/a> including a screening of \u003cem>Monsoon Wedding\u003c/em>.\u003c/p>\n\u003cp>“Mira Nair is a brilliant filmmaker I have long admired,” Tony Taccone, Berkeley Rep’s artistic director, said in a statement. “\u003cem>Monsoon Wedding\u003c/em> is one of my favorite films and to have the opportunity to bring it to the stage in the form of a musical is really something to be excited about.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sjQjw-UyAX0\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theater\u003c/a> (Berkeley Rep) announced Wednesday, Apr. 20 that it will present a new musical based on the hit 2001 film \u003cem>Monsoon Wedding\u003c/em>, directed by Mira Nair.\u003c/p>\n\u003cp>“I have always envisioned \u003cem>Monsoon Wedding\u003c/em> as a fully fleshed out musical,” said Nair in a statement from Berkeley Rep, one of the region’s major theater companies, based in downtown Berkeley. “And to be working with Berkeley Rep to help tell that story just adds to the excitement. I know the end result will be something terrific.”\u003c/p>\n\u003cp>There have been plans for years to bring \u003cem>Monsoon Wedding\u003c/em> to Broadway as a musical, with open \u003ca href=\"https://www.facebook.com/monsoonweddingcasting/?fref=photo\" target=\"_blank\" rel=\"noopener\">casting calls in Palo Alto, New Jersey, and Houston\u003c/a>. \u003ca href=\"http://www.broadwayworld.com/article/Broadway-Bound-MONSOON-WEDDING-Musical-Gets-Winter-Lab-in-NYC-Choreographer-Bill-T-Jones-Joins-Creative-Team-20151103\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a> has reported that choreographer \u003ca href=\"http://www.newyorklivearts.org/company/bill-t-jones.php\" target=\"_blank\" rel=\"noopener\">Bill T. Jones \u003c/a>and music director \u003ca href=\"http://www.playbill.com/person/andy-einhorn-vault-0000005140\" target=\"_blank\" rel=\"noopener\">Andy Einhorn\u003c/a> would be involved with the New York production. But a spokesman for Berkeley Rep says the two Broadway veterans are not involved in the Berkeley production.\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/BIEJONYNrso'\n title='//www.youtube.com/embed/BIEJONYNrso'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie and the stage musical track the adventures of an upper middle class Delhi family as it plans an arranged marriage between a daughter and an American man she’s never met. Sabrina Dhawan wrote the screenplay and is working on the Berkeley Rep stage adaptation, with Tony nominated lyricist Susan Birkenhead and Indian composer Vishal Bhardwaj joining the creative team.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s producers say the production is scheduled to open in the spring of 2017 at Berkeley Rep.\u003c/p>\n\u003cp>Nair, coincidentally, will receive the \u003ca href=\"http://blog.sffs.org/home/2016/4/mira-nair-between-two-worlds.html\" target=\"_blank\" rel=\"noopener\">Irving M. Levin Directing Award from the San Francisco Film Society at this year’s San Francisco International Film Festival.\u003c/a> The festival is also featuring an afternoon \u003ca href=\"http://www.sffs.org/sfiff59/films/irving-m-levin-directing-award-an-afternoon-with-mira-nair-monsoon-wedding#.Vxf8vvkrLIU\" target=\"_blank\" rel=\"noopener\">conversation with Nair at the Castro Theater on Sunday, Apr. 24\u003c/a> including a screening of \u003cem>Monsoon Wedding\u003c/em>.\u003c/p>\n\u003cp>“Mira Nair is a brilliant filmmaker I have long admired,” Tony Taccone, Berkeley Rep’s artistic director, said in a statement. “\u003cem>Monsoon Wedding\u003c/em> is one of my favorite films and to have the opportunity to bring it to the stage in the form of a musical is really something to be excited about.”\u003c/p>\n\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/sjQjw-UyAX0'\n title='//www.youtube.com/embed/sjQjw-UyAX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton has won the 2016 Pulitzer Prize for drama, honoring creator Lin-Manuel Miranda for a dazzling musical has captured popular consciousness like few Broadway shows.\u003c/p>\n\u003cp>The Columbia University’s prize board on Monday cited \u003cem>Hamilton\u003c/em> as a “landmark American” piece.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, about the first U.S. Treasury Secretary, becomes the ninth musical to win the drama award, joining such shows as \u003cem>South Pacific\u003c/em>, ”Sunday in the Park with George” and “Rent.” The last musical to nab the award was “Next to Normal” in 2010.\u003c/p>\n\u003cp>It tells the story of how an orphan immigrant from the Caribbean rose to the highest ranks of American society, as told by a young African-American and Latino cast. Miranda leaned on Ron Chernow’s biography of the Founding Father, but told the tale in common language and verse, transforming Hamilton into “the $10 Founding Father without a father.”\u003c/p>\n\u003cp>Miranda, 36, who wrote the music and story, already has a Tony for creating the Broadway musical “In the Heights,” a show which was nominated for a Pulitzer in 2009 and this month won three Olivier Awards in London. He also has an Emmy for writing the opening number for the 2013 Tony Awards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the past year, Miranda, whose family came from Puerto Rico to New York, has won a “genius grant” from the MacArthur Foundation, as well as the Edward M. Kennedy Prize for Drama Inspired by American History, which came with $100,000.\u003c/p>\n\u003cp>The award was widely expected to go to Miranda this year. The album for \u003cem>Hamilton\u003c/em> won a Grammy Award and became the highest-debuting cast recording on the Billboard Top 200 in over 50 years. The show is a leading favorite in this summer’s Tony Awards. The libretto, published last week, immediately became a top seller on Amazon.com\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> was a sold-out sensation this year when it debuted off-Broadway at New York’s Public Theater and amassed a $60 million advance on Broadway. It has been cheered by politicians as diverse as Dick Cheney and President Barack Obama, and celebrities like British actress Helen Mirren, musician Questlove and many others.\u003c/p>\n\u003cp>The music is a mix of breezy pop, rap battles and slinky R&B. Lyrics are smart and playful, including Hamilton declaring: “In the face of ignorance and resistance/I wrote a financial system into existence.”\u003c/p>\n\u003cp>The Pulitzer drama award, which includes a $10,000 prize, is “for a distinguished play by an American author, preferably original in its source and dealing with American life,” according to the guidelines.\u003c/p>\n\u003cp>Previous playwrights honored include August Wilson, Edward Albee, Eugene O’Neill, Arthur Miller and Tennessee Williams. Recent winners include Annie Baker’s \u003cem>The Flick\u003c/em>, Ayad Akhtar’s \u003cem>Disgraced\u003c/em> and Stephen Adly Guirgis’s “Between Riverside and Crazy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>——-\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton has won the 2016 Pulitzer Prize for drama, honoring creator Lin-Manuel Miranda for a dazzling musical has captured popular consciousness like few Broadway shows.\u003c/p>\n\u003cp>The Columbia University’s prize board on Monday cited \u003cem>Hamilton\u003c/em> as a “landmark American” piece.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, about the first U.S. Treasury Secretary, becomes the ninth musical to win the drama award, joining such shows as \u003cem>South Pacific\u003c/em>, ”Sunday in the Park with George” and “Rent.” The last musical to nab the award was “Next to Normal” in 2010.\u003c/p>\n\u003cp>It tells the story of how an orphan immigrant from the Caribbean rose to the highest ranks of American society, as told by a young African-American and Latino cast. Miranda leaned on Ron Chernow’s biography of the Founding Father, but told the tale in common language and verse, transforming Hamilton into “the $10 Founding Father without a father.”\u003c/p>\n\u003cp>Miranda, 36, who wrote the music and story, already has a Tony for creating the Broadway musical “In the Heights,” a show which was nominated for a Pulitzer in 2009 and this month won three Olivier Awards in London. He also has an Emmy for writing the opening number for the 2013 Tony Awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the past year, Miranda, whose family came from Puerto Rico to New York, has won a “genius grant” from the MacArthur Foundation, as well as the Edward M. Kennedy Prize for Drama Inspired by American History, which came with $100,000.\u003c/p>\n\u003cp>The award was widely expected to go to Miranda this year. The album for \u003cem>Hamilton\u003c/em> won a Grammy Award and became the highest-debuting cast recording on the Billboard Top 200 in over 50 years. The show is a leading favorite in this summer’s Tony Awards. The libretto, published last week, immediately became a top seller on Amazon.com\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> was a sold-out sensation this year when it debuted off-Broadway at New York’s Public Theater and amassed a $60 million advance on Broadway. It has been cheered by politicians as diverse as Dick Cheney and President Barack Obama, and celebrities like British actress Helen Mirren, musician Questlove and many others.\u003c/p>\n\u003cp>The music is a mix of breezy pop, rap battles and slinky R&B. Lyrics are smart and playful, including Hamilton declaring: “In the face of ignorance and resistance/I wrote a financial system into existence.”\u003c/p>\n\u003cp>The Pulitzer drama award, which includes a $10,000 prize, is “for a distinguished play by an American author, preferably original in its source and dealing with American life,” according to the guidelines.\u003c/p>\n\u003cp>Previous playwrights honored include August Wilson, Edward Albee, Eugene O’Neill, Arthur Miller and Tennessee Williams. Recent winners include Annie Baker’s \u003cem>The Flick\u003c/em>, Ayad Akhtar’s \u003cem>Disgraced\u003c/em> and Stephen Adly Guirgis’s “Between Riverside and Crazy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>——-\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ubuntu Theater's 'The Grapes of Wrath' is Sure-Footed, Despite Missteps",
"headTitle": "Ubuntu Theater’s ‘The Grapes of Wrath’ is Sure-Footed, Despite Missteps | KQED",
"content": "\u003cp>Artistic vision is a tricky thing. It has almost nothing to do with money, or skill, or talent, or anything that you can properly quantify. Like pornography — to borrow Judge John M. Woolsey’s famous defense of James Joyce’s \u003cem>Ulysses — \u003c/em>you know it when you see it. And where artistic vision might be difficult to get a hold of or define, it’s impossible not to see its transformative effects on everything it touches.\u003c/p>\n\u003cp>This puts us in a quandary in looking at \u003ca href=\"http://ubuntutheaterproject\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a>’s production of Frank Galati’s stage adaption of John Steinbeck’s \u003cem>The Grapes of Wrath\u003c/em>. It is at moments an amazing production, and yet it falters and sputters too many times to be fully successful. It has a vision of the theater and the world that’s admirable and sharp. You feel it build in momentum during the long and involving first act, and lose focus and purpose during the more conventionally dramatic second.\u003c/p>\n\u003cp>Ubuntu specializes in site-specific performance, and even though the company’s production of \u003cem>The Grapes of Wrath\u003c/em> isn’t staged on a road or in a farm encampment, there is something about Oakland City Church’s cavernous basement/gymnasium that rings true to the material.\u003c/p>\n\u003cp>At first the set seems no more than random bits of wood and industrial trashcans that you might find scattered around any busy and overtaxed church. Then some actors wander out and gather around a metal can that emits a warm glow of orange light. You know the scene — it’s stood for poverty and desolation in countless plays and movies. And yet here in this church, at this time of great economic disparity and disruption, the normally hackneyed visual image becomes compelling.\u003c/p>\n\u003cp>Off to the side you hear voices singing a hymn. And from a pair of visibly obvious speakers mounted on either end of the stage, there are sound effects — wind, rain, and a sense of vast emptiness (if the last can be captured in sound). The soundscape lends the production an immediate realism that, when you think about it, isn’t realistic at all. The sounds serve to isolate and focus our attention in subtle, simple, and sophisticated ways.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The large, 25-strong ensemble keeps things focused. There’s no overacting, only well-defined actions — wandering, gathering around a fire, singing. This is especially true during the first act, when the supporting and bit players are exemplary in their ability to carry out a vision of a world lost to a vicious and state-sanctioned poverty.\u003c/p>\n\u003cfigure id=\"attachment_11488199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488199\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Grapes6-800x533.jpg\" alt=\"Francisco as Noah Joad in Unbutu Theater Project's 'The Grapes of Wrath.' Photo: Courtesy of the Company.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francisco as Noah Joad in Unbutu Theater Project’s ‘The Grapes of Wrath.’ (Photo: Courtesy of Ubuntu Theater Project)\u003c/figcaption>\u003c/figure>\n\u003cp>When we finally get to Steinbeck’s story of the Joad family’s journey from dust bowl Oklahoma to the seeming promised land of California, we’re in some ways ready for the terrors that await them. The initial meeting between the newly paroled Tom Joad (William Hartfield) and the fallen minister Jim Casey (William Thomas Hodgson) is notable for its absence of staginess. Hartfield and Hodgson — both excellent — give their lines in an almost perfunctory manner. And because of that we pay attention to the moment, even in its seeming insignificance.\u003c/p>\n\u003cp>Unlike most large cast productions, you don’t just focus on the leads, but all the roles — even the smallest. There’s an astounding exchange between a gas station owner (Timothy Redmond) and his attendant (Rolanda Bell) that is essentially a debate over whether the Joads are human or not. Without straining at all, Redmond and Bell engage in a chilling off-handed conversation that captures how easy it is to miss the humanity of the poor — “them goddamn Okies got no sense and no feeling. They ain’t human.”\u003c/p>\n\u003cp>The first act is filled with such moments — a chorus of used car salesmen; a corrupt campground proprietor; a man returning from California to Oklahoma with too much knowledge to seem sane; agricultural inspectors so disarmed by how sick the Joads are that they forget to do their jobs. These aren’t afterthoughts or filler, but rather the heart of the drama. And director Michael Socrates Moran and the Ubuntu team make it all work by closely matching actor to role, prop to function, and their vision to their resources.\u003c/p>\n\u003cp>After the intermission, though, the production starts to strain and the high level of theatrical invention falls to the wayside. It’s partly that Galati’s adaptation becomes more conventionally dramatic and starts to require more standard notions of skill and talent. Ubuntu is so good at using what’s at hand that it’s disappointing when they start to try to approximate and account for a style ill-suited to their strengths.\u003c/p>\n\u003cp>When the Joads get to California and find themselves in something close to a refugee settlement, you can feel the production faltering in its desire to fully represent that world. At this point, the production becomes more presentational and static. In the previous act Ubuntu casts a spell with little means. In the second act, the production starts to feel like an approximation — those fences aren’t real, that rain is merely a set of chains, that fight is incompletely staged. The acting — so assured in the first act — starts to reach for effect.\u003c/p>\n\u003cfigure id=\"attachment_11488198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-800x414.jpg\" alt=\"Christine Jamlig as Rose of Sharon in The Ubuntu Theater's production of 'The Grapes of Wrath.' Photo: Courtesy of the company.\" width=\"800\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-800x414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-400x207.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-768x397.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-1180x610.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-1920x993.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-960x497.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Jamlig as Rose of Sharon in The Ubuntu Theater’s production of ‘The Grapes of Wrath.’ (Photo: Courtesy of Ubuntu Theater Project)\u003c/figcaption>\u003c/figure>\n\u003cp>So what we have is a vision of the theater and the world that although incomplete is bracingly present. You can feel it touch every part of the material and it’s exciting. The fact that it’s not fully carried through is a criticism, but one couched in real admiration for what Ubuntu has accomplished and attempted. The company’s failures feel more alive than many other theatrical “successes.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> plays until Sunday, May. 1 at Oakland City Church in Oakland. For information and tickets go www.ubuntutheaterproject.com.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artistic vision is a tricky thing. It has almost nothing to do with money, or skill, or talent, or anything that you can properly quantify. Like pornography — to borrow Judge John M. Woolsey’s famous defense of James Joyce’s \u003cem>Ulysses — \u003c/em>you know it when you see it. And where artistic vision might be difficult to get a hold of or define, it’s impossible not to see its transformative effects on everything it touches.\u003c/p>\n\u003cp>This puts us in a quandary in looking at \u003ca href=\"http://ubuntutheaterproject\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a>’s production of Frank Galati’s stage adaption of John Steinbeck’s \u003cem>The Grapes of Wrath\u003c/em>. It is at moments an amazing production, and yet it falters and sputters too many times to be fully successful. It has a vision of the theater and the world that’s admirable and sharp. You feel it build in momentum during the long and involving first act, and lose focus and purpose during the more conventionally dramatic second.\u003c/p>\n\u003cp>Ubuntu specializes in site-specific performance, and even though the company’s production of \u003cem>The Grapes of Wrath\u003c/em> isn’t staged on a road or in a farm encampment, there is something about Oakland City Church’s cavernous basement/gymnasium that rings true to the material.\u003c/p>\n\u003cp>At first the set seems no more than random bits of wood and industrial trashcans that you might find scattered around any busy and overtaxed church. Then some actors wander out and gather around a metal can that emits a warm glow of orange light. You know the scene — it’s stood for poverty and desolation in countless plays and movies. And yet here in this church, at this time of great economic disparity and disruption, the normally hackneyed visual image becomes compelling.\u003c/p>\n\u003cp>Off to the side you hear voices singing a hymn. And from a pair of visibly obvious speakers mounted on either end of the stage, there are sound effects — wind, rain, and a sense of vast emptiness (if the last can be captured in sound). The soundscape lends the production an immediate realism that, when you think about it, isn’t realistic at all. The sounds serve to isolate and focus our attention in subtle, simple, and sophisticated ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The large, 25-strong ensemble keeps things focused. There’s no overacting, only well-defined actions — wandering, gathering around a fire, singing. This is especially true during the first act, when the supporting and bit players are exemplary in their ability to carry out a vision of a world lost to a vicious and state-sanctioned poverty.\u003c/p>\n\u003cfigure id=\"attachment_11488199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488199\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Grapes6-800x533.jpg\" alt=\"Francisco as Noah Joad in Unbutu Theater Project's 'The Grapes of Wrath.' Photo: Courtesy of the Company.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francisco as Noah Joad in Unbutu Theater Project’s ‘The Grapes of Wrath.’ (Photo: Courtesy of Ubuntu Theater Project)\u003c/figcaption>\u003c/figure>\n\u003cp>When we finally get to Steinbeck’s story of the Joad family’s journey from dust bowl Oklahoma to the seeming promised land of California, we’re in some ways ready for the terrors that await them. The initial meeting between the newly paroled Tom Joad (William Hartfield) and the fallen minister Jim Casey (William Thomas Hodgson) is notable for its absence of staginess. Hartfield and Hodgson — both excellent — give their lines in an almost perfunctory manner. And because of that we pay attention to the moment, even in its seeming insignificance.\u003c/p>\n\u003cp>Unlike most large cast productions, you don’t just focus on the leads, but all the roles — even the smallest. There’s an astounding exchange between a gas station owner (Timothy Redmond) and his attendant (Rolanda Bell) that is essentially a debate over whether the Joads are human or not. Without straining at all, Redmond and Bell engage in a chilling off-handed conversation that captures how easy it is to miss the humanity of the poor — “them goddamn Okies got no sense and no feeling. They ain’t human.”\u003c/p>\n\u003cp>The first act is filled with such moments — a chorus of used car salesmen; a corrupt campground proprietor; a man returning from California to Oklahoma with too much knowledge to seem sane; agricultural inspectors so disarmed by how sick the Joads are that they forget to do their jobs. These aren’t afterthoughts or filler, but rather the heart of the drama. And director Michael Socrates Moran and the Ubuntu team make it all work by closely matching actor to role, prop to function, and their vision to their resources.\u003c/p>\n\u003cp>After the intermission, though, the production starts to strain and the high level of theatrical invention falls to the wayside. It’s partly that Galati’s adaptation becomes more conventionally dramatic and starts to require more standard notions of skill and talent. Ubuntu is so good at using what’s at hand that it’s disappointing when they start to try to approximate and account for a style ill-suited to their strengths.\u003c/p>\n\u003cp>When the Joads get to California and find themselves in something close to a refugee settlement, you can feel the production faltering in its desire to fully represent that world. At this point, the production becomes more presentational and static. In the previous act Ubuntu casts a spell with little means. In the second act, the production starts to feel like an approximation — those fences aren’t real, that rain is merely a set of chains, that fight is incompletely staged. The acting — so assured in the first act — starts to reach for effect.\u003c/p>\n\u003cfigure id=\"attachment_11488198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-800x414.jpg\" alt=\"Christine Jamlig as Rose of Sharon in The Ubuntu Theater's production of 'The Grapes of Wrath.' Photo: Courtesy of the company.\" width=\"800\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-800x414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-400x207.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-768x397.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-1180x610.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-1920x993.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-960x497.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Jamlig as Rose of Sharon in The Ubuntu Theater’s production of ‘The Grapes of Wrath.’ (Photo: Courtesy of Ubuntu Theater Project)\u003c/figcaption>\u003c/figure>\n\u003cp>So what we have is a vision of the theater and the world that although incomplete is bracingly present. You can feel it touch every part of the material and it’s exciting. The fact that it’s not fully carried through is a criticism, but one couched in real admiration for what Ubuntu has accomplished and attempted. The company’s failures feel more alive than many other theatrical “successes.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> plays until Sunday, May. 1 at Oakland City Church in Oakland. For information and tickets go www.ubuntutheaterproject.com.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"http://cuttingball.com/\" target=\"_blank\" rel=\"noopener\">Cutting Ball Theater \u003c/a>is getting a new artistic director, but she’ll be a familiar face for staff and audiences.\u003c/p>\n\u003cp>She is Cutting Ball’s co-founder \u003ca href=\"http://cuttingball.com/staff-artists/\" target=\"_blank\" rel=\"noopener\">Paige Rogers\u003c/a>, the wife of current Artistic Director \u003ca href=\"http://cuttingball.com/staff-artists/\" target=\"_blank\" rel=\"noopener\">Rob Melrose\u003c/a>, and acting artistic director during the past year, when Melrose was on a sabbatical.\u003c/p>\n\u003cp>“He was the boss at work, and the joke was I was the boss at home,” said Rogers about the change. “But as his national career took off, we needed someone in the office more. And in fact I’m a bossier person than he is, so it was just a natural transition.”\u003c/p>\n\u003cfigure id=\"attachment_11493763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11493763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-800x506.jpg\" alt=\"Rob Melrose, Founding Artistic Director for Cutting Ball Theater\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-1920x1214.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-960x607.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rob Melrose, Founding Artistic Director for Cutting Ball Theater \u003ccite>(Photo: Deborah Blin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Melrose has been in demand as a freelance director with work at the Old Globe Theater in San Diego, the Public Theater in New York and other national venues. The change in duties, Rogers says, will give him more time to direct. Melrose will take become Cutting Ball’s founding artistic director and remain on the theater company’s board.\u003c/p>\n\u003cp>Rogers says she’s promising one big physical change at the theater’s intimate home at the \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit in the Tenderloin\u003c/a>. “Something our patrons have talked about a lot is that the theater gets very hot,” Rogers said, “because we use professional lighting in such a small space, and I just got a large amount of money in city grants to install air conditioning.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the artistic side, Rogers says she wants the company to focus more on radical visions for classic plays, and she promised we’ll see the evidence for that on April 19, when she announces the company’s 2016/2017 season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cutting Ball’s next show will be \u003ca href=\"http://cuttingball.com/productions/a-dreamplay-3/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Dreamplay\u003c/em>\u003c/a> by August Strindberg, in a new translation by \u003ca href=\"http://drama.yale.edu/facstaff/paul-walsh\" target=\"_blank\" rel=\"noopener\">Paul Walsh \u003c/a>and directed by Melrose.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"http://cuttingball.com/\" target=\"_blank\" rel=\"noopener\">Cutting Ball Theater \u003c/a>is getting a new artistic director, but she’ll be a familiar face for staff and audiences.\u003c/p>\n\u003cp>She is Cutting Ball’s co-founder \u003ca href=\"http://cuttingball.com/staff-artists/\" target=\"_blank\" rel=\"noopener\">Paige Rogers\u003c/a>, the wife of current Artistic Director \u003ca href=\"http://cuttingball.com/staff-artists/\" target=\"_blank\" rel=\"noopener\">Rob Melrose\u003c/a>, and acting artistic director during the past year, when Melrose was on a sabbatical.\u003c/p>\n\u003cp>“He was the boss at work, and the joke was I was the boss at home,” said Rogers about the change. “But as his national career took off, we needed someone in the office more. And in fact I’m a bossier person than he is, so it was just a natural transition.”\u003c/p>\n\u003cfigure id=\"attachment_11493763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11493763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-800x506.jpg\" alt=\"Rob Melrose, Founding Artistic Director for Cutting Ball Theater\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-1920x1214.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-960x607.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rob Melrose, Founding Artistic Director for Cutting Ball Theater \u003ccite>(Photo: Deborah Blin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Melrose has been in demand as a freelance director with work at the Old Globe Theater in San Diego, the Public Theater in New York and other national venues. The change in duties, Rogers says, will give him more time to direct. Melrose will take become Cutting Ball’s founding artistic director and remain on the theater company’s board.\u003c/p>\n\u003cp>Rogers says she’s promising one big physical change at the theater’s intimate home at the \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit in the Tenderloin\u003c/a>. “Something our patrons have talked about a lot is that the theater gets very hot,” Rogers said, “because we use professional lighting in such a small space, and I just got a large amount of money in city grants to install air conditioning.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the artistic side, Rogers says she wants the company to focus more on radical visions for classic plays, and she promised we’ll see the evidence for that on April 19, when she announces the company’s 2016/2017 season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cutting Ball’s next show will be \u003ca href=\"http://cuttingball.com/productions/a-dreamplay-3/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Dreamplay\u003c/em>\u003c/a> by August Strindberg, in a new translation by \u003ca href=\"http://drama.yale.edu/facstaff/paul-walsh\" target=\"_blank\" rel=\"noopener\">Paul Walsh \u003c/a>and directed by Melrose.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-performance-picks-that-go-beyond-the-completely-obvious",
"title": "Bay Area Performance Picks that go Beyond the Completely Obvious",
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"content": "\u003cp>\u003cem>So you’ve gotten tickets to shows by all the heavy-hitters — the San Francisco Ballet, the American Conservatory Theater, the San Francisco Opera, the Berkeley Repertory Theatre and the Broadway tour presenter SHN. Your date is impressed. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Now, here’s how to make him or her admire your cultural with-it-ness even more: go experience something that’s a little — or a lot — off-center. Below are some local performance gems to feed your arts-going habit in the coming weeks.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, Apr. 30: \u003ca href=\"https://www.youtube.com/watch?v=RrJpLjq6XNE\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>at SF Playhouse, San Francisco\u003c/strong>\u003cbr>\nAn arresting, intensely physical drama by Andrew Hinderaker which tells the story of an athletic young man who turns his back on a promising ballet career to pursue his true passion — pro football — only to land shortly thereafter in a wheelchair after taking a fall during a game. Featuring a strong cast of buff, male actors and fluid direction from John Tracy, \u003cem>Colossal\u003c/em> epitomizes the feisty, high quality theater produced by SF Playhouse. Read \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/sf-playhouses-winning-football-drama-colossal-scores-a-touchdown/\" target=\"_blank\" rel=\"noopener\">KQED’s review\u003c/a> here. And watch SF Playhouse’s preview below.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?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>\u003cstrong>Now through Sunday, May 15: Shotgun Players’ \u003ca href=\"https://shotgunplayers.org/Online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>This unusual production of Shakespeare’s most famous tragedy directed by one of the Bay Area’s hottest directors, Mark Jackson, takes the line “the play’s the thing” as its starting point for an exploration of the myriad different ways the drama can be staged. Right before each performance, cast members draw lots out of Yorick’s skull to decide which role they’ll be playing that night. They have five minutes to prepare, then it’s lights down. This two-hour version of \u003cem>Hamlet\u003c/em> artfully edited by Jackson features six supremely talented actors and is expected to continue to run in repertory for an entire after its initial run as part of Shotgun Players’ 25th anniversary celebrations. The company is selling special ticket packages to encourage audiences to experience three different casting combinations.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 161870536 w=640h=360]\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Jun. 11: Thrillpeddlers’ \u003cem>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">The Untamed Stage: Weimar Berlin Kabarett\u003c/a>\u003c/em> at The Hypnodrome, San Francisco\u003c/strong>\u003cbr>\nThis sexy-scrappy musical by Scrumbly Koldewyn, founding member of The Cockettes (a famed San Francisco underground theater troupe of the 1960s and ’70s), takes its name from “The Untamed Stage,” a Berlin hot spot founded in 1921. Through vaudeville skits and songs, the show features some of the Bay Area’s most captivating drag artists and touches on such universal subjects as belonging, fascism, and “a cow that becomes increasingly self-aware and might change the course of history.” And if you’ve never been to The Hypnodrome before, this is an experience not to be missed, as the theater — home to SF’s \u003cem>grand guignol\u003c/em> theater company Thrillpeddlers — is one of the city’s hidden treasures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"THRILLPEDDLERS : The Untamed Stage\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XSq6mIEgEZ0?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>\u003cstrong>Saturday, Apr. 14 – Saturday, Apr. 30: \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe Festival\u003c/a> at Dance Mission Theater and Brava Theater in San Francisco, and Laney College Theater, Oakland\u003c/strong>\u003cbr>\nNow in its 12th year, this vivid annual celebration of Caribbean performing arts turns its attention to Cuba, a country immersed in dance and music. Over three weekends, “Cuba On My Mind” explores the massive influence of Cuban culture on the rest of the world. The opening weekend at Dance Mission Theater features a mixed program, including Aguas Dance Company and Ballet Folklorico Odduara. Week two shifts to Laney College in Oakland with performances focused on more contemporary dance styles by the likes of Alayo Dance Company and Nicole Klaymoon’s Embodiment Project. The festival returns to San Francisco at the end of the month with a show that demonstrates the spread of Cuban ideas throughout the world, featuring Brazilian capoeira from Abada Capoeira SF, Mexican dance by Los Lupeños de San Jose, and other virtuostic groups. Here’s a video featuring Alayo Dance Company from a previous CubaCaribe Festival:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Alayo Dance Company/ Ramon Ramos Alayo- Selected Work\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Iw3n7g0Ffjc?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>\u003cstrong>Wednesday, Apr. 20 – Wednesday, Jul. 20: David Gerard’s \u003cem>\u003ca href=\"https://www.eventbrite.com/e/david-gerard-an-evening-of-magic-and-mindreading-tickets-19957760198?aff=pfcal\" target=\"_blank\" rel=\"noopener\">Game Night: An Evening of Magic and Mindreading\u003c/a>\u003c/em> at PianoFight, San Francisco\u003c/strong>\u003cbr>\nPianoFight is one of the core offbeat performance hubs in downtown San Francisco, an exciting and relatively new spot to grab a drink and dinner, and check out a variety of off-beat performances, like plays by underground theater companies, burlesque shows and standup comedy. Clever clogs mentalist David Gerard, who regularly sells out the venue, is back with a new show created specially for PianoFight. \u003cem>Game Night\u003c/em> fuses mindreading with magic. The artist has chops on both fronts. Last year, for instance, Gerard baffled and delighted audiences by swallowing needles and thread and regurgitating threaded needles. Watch Gerard in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"David Gerard Live\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z8rctJo1DAU?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>\u003cstrong>Now through Sunday, Apr. 24: Ubuntu Theater Project presents \u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> at Oakland City Church, Oakland\u003c/strong>\u003cbr>\nUbuntu Theater does something that’s hard to do: the small, ever-inventive company manages to produce socially conscious theater without thumping people over the head with a didactic message. The current season, presciently titled “Threatened Homes,” offers a broad and deep perspective on the idea of displacement, encompassing everything from a take on Shakespeare’s \u003cem>Othello\u003c/em> that focuses on the title character’s conversion from Islam to Christianity, to \u003cem>Más\u003c/em>, a docudrama by Milta Ortiz about the Chicano community in Tucson, Arizona. Up next, the company’s take on Frank Galati’s adaptation of John Steinbeck’s famous 1939 novel about an impoverished Oklahoma family’s arduous journey to California. If Ubuntu’s memorable recent staging of Clifford Odets’ classic workers’ rights drama, \u003cem>Waiting for Lefty\u003c/em>, set in a disused Oakland auto repair shop is anything to go by, this new production is very much worth checking out. Watch the directors of the company talk about \u003cem>Lefty\u003c/em> and other things here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"2015 Festival - Keep The Buzz Brewing!\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/1zQqf4VXt_k?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>\u003cstrong>Thursday, May 5 – Sunday, May 8: Cal Performances presents \u003cem>\u003ca href=\"http://calperformances.org/performances/2015-16/theater/edgar-oliver-helen-edgar.php\" target=\"_blank\" rel=\"noopener\">Helen & Edgar\u003c/a>\u003c/em> at Zellerbach Playhouse, Berkeley\u003c/strong>\u003cbr>\nNew York City poet, playwright and ranconteur Edgar Oliver heads to Berkeley to share his brilliantly whacko story about growing up in Savannah, Georgia, with his sister Helen and their spectacularly eccentric mother. Oliver is a veteran performer with \u003cem>\u003ca href=\"http://themoth.org/\" target=\"_blank\" rel=\"noopener\">The Moth\u003c/a>\u003c/em>. The Peabody Award-winning radio series and live storytelling project helped to incubate this one man show which \u003cem>The New York Times\u003c/em> describes as “utterly absorbing and unexpectedly moving.” Watch Oliver tell one of his childhood inspired monologues:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Moth Presents Edgar Oliver: Apron Strings of Savannah\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/GNJWHwTUvwU?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>\u003cstrong>Saturday, Apr. 23: Stanford Live presents AXIS Dance Company’s \u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">\u003cem>To Go Again\u003c/em> \u003c/a>at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nThe great Bay Area-based choreographer \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode\u003c/a> teams up with one of the country’s seminal contemporary dance companies, AXIS, based in Oakland, to present a new work around the theme of war veterans returning home from the front lines. Like the soldiers portrayed in \u003cem>To Go Again\u003c/em>, AXIS dancers know what it means to confront challenges because many of them have physical disabilities and move on stage in their wheelchairs. The piece is part of Stanford Live’s series exploring war, return and recovery. Goode’s is the final work on a bill that also includes \u003cem>Dix Minutes Plus Tard (Ten Minutes Later)\u003c/em> by Sonya Delwaide and Marc Brew’s \u003cem>Divide\u003c/em>. Watch members of AXIS perform on the hit TV show \u003cem>So You Think You Can Dance\u003c/em>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"AXIS Dance on SYTYCD 2012- Changing Dance and Disability with Duets and Wheelchairs\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S7L7obgfb18?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>\u003cstrong>Thursday, Apr. 14 – Sunday, May. 8: Howard Brenton’s \u003ca href=\"http://www.marintheatre.org/productions/anne-boleyn\" target=\"_blank\" rel=\"noopener\">Anne Boleyn\u003c/a> at Marin Theatre Company, Mill Valley\u003c/strong>\u003cbr>\nFrom \u003cem>The Other Boleyn Girl\u003c/em> to \u003cem>Wolf Hall\u003c/em>, audiences in this country can’t get enough of the period in English history when women in high places lost their heads and men vied over the size of their cod pieces and ruffs. Marin Theatre Company’s west coast premiere of a 2010 play by Howard Brenton draws us in with the former: The drama begins with the arrival of the ghost of King Henry VIII’s late wife, Anne Boleyn, lugging her severed proboscis in a blood-stained bag. Brenton’s revisionist history casts Henry VIII’s devoutly protestant second wife as an active player in the affairs of the state rather than merely a sorry victim. Watch the cast rehearse the show at Grace Cathedral:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Marin Theatre Company's “Anne Boleyn” rehearsal at Grace Cathedral\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/lxCA-k7TGGQ?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>\u003cstrong>Friday, Apr. 29 – Sunday, May 1: Opera Parallele presents Peter Maxwell Davies’ \u003cem>\u003ca href=\"https://operaparallele.org/the-lighthouse/\" target=\"_blank\" rel=\"noopener\">The Lighthouse\u003c/a>\u003c/em> at Z Space, San Francisco\u003c/strong>\u003cbr>\nOpera Parallele is one of the most innovative contemporary opera companies around, producing edgy work like the recent jazz opera, \u003cem>Champion\u003c/em>, based on the tragic life of the gay heavyweight prizefighter Emile Griffith. The company’s latest offering is a ghost story of a chamber opera inspired by real-life events about the mysterious disappearance of three fisherman stationed at a remote lighthouse off the coast of Scotland. Composer Peter Maxwell Davies’ rhythmic musical score calls for three virtuostic male singers (in this case, Robert Orth, David Cushing and Thomas Glenn) and 12 musicians playing some instruments not typically employed in opera productions like the banjo, guitar and an out-of-tune piano. Check out the preview here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lighthouse - Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gU0dMmUvkv0?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>\u003cstrong>Thursday, May 5 – Sunday, May 8: Liss Fain Dance presents \u003cem>\u003ca href=\"http://www.ybca.org/liss-fain-dance-tacit-consent\" target=\"_blank\" rel=\"noopener\">Tacit Consent\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cbr>\nThe Yerba Buena Center for the Arts has a new mission, emblazoned on billboards around the city — “The Center for the Art of Doing Something About It.” In addition to following through on this aim with civics programming that asked artists and other thinkers to go deep into the most pressing social and political issues of our day, YBCA extends this mission into its collaborations with arts organizations. Such is the case with Liss Fain Dance, which presents an immersive world-premiere sound, video and performance art installation about surveillance and ambiguity. You experience the piece by wondering through four different rooms of the set. Get a taste of the company’s approach here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RrJpLjq6XNE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "Bay Area Performance Picks that go Beyond the Completely Obvious | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>So you’ve gotten tickets to shows by all the heavy-hitters — the San Francisco Ballet, the American Conservatory Theater, the San Francisco Opera, the Berkeley Repertory Theatre and the Broadway tour presenter SHN. Your date is impressed. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Now, here’s how to make him or her admire your cultural with-it-ness even more: go experience something that’s a little — or a lot — off-center. Below are some local performance gems to feed your arts-going habit in the coming weeks.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, Apr. 30: \u003ca href=\"https://www.youtube.com/watch?v=RrJpLjq6XNE\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>at SF Playhouse, San Francisco\u003c/strong>\u003cbr>\nAn arresting, intensely physical drama by Andrew Hinderaker which tells the story of an athletic young man who turns his back on a promising ballet career to pursue his true passion — pro football — only to land shortly thereafter in a wheelchair after taking a fall during a game. Featuring a strong cast of buff, male actors and fluid direction from John Tracy, \u003cem>Colossal\u003c/em> epitomizes the feisty, high quality theater produced by SF Playhouse. Read \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/sf-playhouses-winning-football-drama-colossal-scores-a-touchdown/\" target=\"_blank\" rel=\"noopener\">KQED’s review\u003c/a> here. And watch SF Playhouse’s preview below.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?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>\u003cstrong>Now through Sunday, May 15: Shotgun Players’ \u003ca href=\"https://shotgunplayers.org/Online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>This unusual production of Shakespeare’s most famous tragedy directed by one of the Bay Area’s hottest directors, Mark Jackson, takes the line “the play’s the thing” as its starting point for an exploration of the myriad different ways the drama can be staged. Right before each performance, cast members draw lots out of Yorick’s skull to decide which role they’ll be playing that night. They have five minutes to prepare, then it’s lights down. This two-hour version of \u003cem>Hamlet\u003c/em> artfully edited by Jackson features six supremely talented actors and is expected to continue to run in repertory for an entire after its initial run as part of Shotgun Players’ 25th anniversary celebrations. The company is selling special ticket packages to encourage audiences to experience three different casting combinations.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Jun. 11: Thrillpeddlers’ \u003cem>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">The Untamed Stage: Weimar Berlin Kabarett\u003c/a>\u003c/em> at The Hypnodrome, San Francisco\u003c/strong>\u003cbr>\nThis sexy-scrappy musical by Scrumbly Koldewyn, founding member of The Cockettes (a famed San Francisco underground theater troupe of the 1960s and ’70s), takes its name from “The Untamed Stage,” a Berlin hot spot founded in 1921. Through vaudeville skits and songs, the show features some of the Bay Area’s most captivating drag artists and touches on such universal subjects as belonging, fascism, and “a cow that becomes increasingly self-aware and might change the course of history.” And if you’ve never been to The Hypnodrome before, this is an experience not to be missed, as the theater — home to SF’s \u003cem>grand guignol\u003c/em> theater company Thrillpeddlers — is one of the city’s hidden treasures.\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=\"THRILLPEDDLERS : The Untamed Stage\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XSq6mIEgEZ0?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>\u003cstrong>Saturday, Apr. 14 – Saturday, Apr. 30: \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe Festival\u003c/a> at Dance Mission Theater and Brava Theater in San Francisco, and Laney College Theater, Oakland\u003c/strong>\u003cbr>\nNow in its 12th year, this vivid annual celebration of Caribbean performing arts turns its attention to Cuba, a country immersed in dance and music. Over three weekends, “Cuba On My Mind” explores the massive influence of Cuban culture on the rest of the world. The opening weekend at Dance Mission Theater features a mixed program, including Aguas Dance Company and Ballet Folklorico Odduara. Week two shifts to Laney College in Oakland with performances focused on more contemporary dance styles by the likes of Alayo Dance Company and Nicole Klaymoon’s Embodiment Project. The festival returns to San Francisco at the end of the month with a show that demonstrates the spread of Cuban ideas throughout the world, featuring Brazilian capoeira from Abada Capoeira SF, Mexican dance by Los Lupeños de San Jose, and other virtuostic groups. Here’s a video featuring Alayo Dance Company from a previous CubaCaribe Festival:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Alayo Dance Company/ Ramon Ramos Alayo- Selected Work\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Iw3n7g0Ffjc?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>\u003cstrong>Wednesday, Apr. 20 – Wednesday, Jul. 20: David Gerard’s \u003cem>\u003ca href=\"https://www.eventbrite.com/e/david-gerard-an-evening-of-magic-and-mindreading-tickets-19957760198?aff=pfcal\" target=\"_blank\" rel=\"noopener\">Game Night: An Evening of Magic and Mindreading\u003c/a>\u003c/em> at PianoFight, San Francisco\u003c/strong>\u003cbr>\nPianoFight is one of the core offbeat performance hubs in downtown San Francisco, an exciting and relatively new spot to grab a drink and dinner, and check out a variety of off-beat performances, like plays by underground theater companies, burlesque shows and standup comedy. Clever clogs mentalist David Gerard, who regularly sells out the venue, is back with a new show created specially for PianoFight. \u003cem>Game Night\u003c/em> fuses mindreading with magic. The artist has chops on both fronts. Last year, for instance, Gerard baffled and delighted audiences by swallowing needles and thread and regurgitating threaded needles. Watch Gerard in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"David Gerard Live\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z8rctJo1DAU?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>\u003cstrong>Now through Sunday, Apr. 24: Ubuntu Theater Project presents \u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> at Oakland City Church, Oakland\u003c/strong>\u003cbr>\nUbuntu Theater does something that’s hard to do: the small, ever-inventive company manages to produce socially conscious theater without thumping people over the head with a didactic message. The current season, presciently titled “Threatened Homes,” offers a broad and deep perspective on the idea of displacement, encompassing everything from a take on Shakespeare’s \u003cem>Othello\u003c/em> that focuses on the title character’s conversion from Islam to Christianity, to \u003cem>Más\u003c/em>, a docudrama by Milta Ortiz about the Chicano community in Tucson, Arizona. Up next, the company’s take on Frank Galati’s adaptation of John Steinbeck’s famous 1939 novel about an impoverished Oklahoma family’s arduous journey to California. If Ubuntu’s memorable recent staging of Clifford Odets’ classic workers’ rights drama, \u003cem>Waiting for Lefty\u003c/em>, set in a disused Oakland auto repair shop is anything to go by, this new production is very much worth checking out. Watch the directors of the company talk about \u003cem>Lefty\u003c/em> and other things here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"2015 Festival - Keep The Buzz Brewing!\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/1zQqf4VXt_k?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>\u003cstrong>Thursday, May 5 – Sunday, May 8: Cal Performances presents \u003cem>\u003ca href=\"http://calperformances.org/performances/2015-16/theater/edgar-oliver-helen-edgar.php\" target=\"_blank\" rel=\"noopener\">Helen & Edgar\u003c/a>\u003c/em> at Zellerbach Playhouse, Berkeley\u003c/strong>\u003cbr>\nNew York City poet, playwright and ranconteur Edgar Oliver heads to Berkeley to share his brilliantly whacko story about growing up in Savannah, Georgia, with his sister Helen and their spectacularly eccentric mother. Oliver is a veteran performer with \u003cem>\u003ca href=\"http://themoth.org/\" target=\"_blank\" rel=\"noopener\">The Moth\u003c/a>\u003c/em>. The Peabody Award-winning radio series and live storytelling project helped to incubate this one man show which \u003cem>The New York Times\u003c/em> describes as “utterly absorbing and unexpectedly moving.” Watch Oliver tell one of his childhood inspired monologues:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Moth Presents Edgar Oliver: Apron Strings of Savannah\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/GNJWHwTUvwU?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>\u003cstrong>Saturday, Apr. 23: Stanford Live presents AXIS Dance Company’s \u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">\u003cem>To Go Again\u003c/em> \u003c/a>at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nThe great Bay Area-based choreographer \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode\u003c/a> teams up with one of the country’s seminal contemporary dance companies, AXIS, based in Oakland, to present a new work around the theme of war veterans returning home from the front lines. Like the soldiers portrayed in \u003cem>To Go Again\u003c/em>, AXIS dancers know what it means to confront challenges because many of them have physical disabilities and move on stage in their wheelchairs. The piece is part of Stanford Live’s series exploring war, return and recovery. Goode’s is the final work on a bill that also includes \u003cem>Dix Minutes Plus Tard (Ten Minutes Later)\u003c/em> by Sonya Delwaide and Marc Brew’s \u003cem>Divide\u003c/em>. Watch members of AXIS perform on the hit TV show \u003cem>So You Think You Can Dance\u003c/em>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"AXIS Dance on SYTYCD 2012- Changing Dance and Disability with Duets and Wheelchairs\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S7L7obgfb18?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>\u003cstrong>Thursday, Apr. 14 – Sunday, May. 8: Howard Brenton’s \u003ca href=\"http://www.marintheatre.org/productions/anne-boleyn\" target=\"_blank\" rel=\"noopener\">Anne Boleyn\u003c/a> at Marin Theatre Company, Mill Valley\u003c/strong>\u003cbr>\nFrom \u003cem>The Other Boleyn Girl\u003c/em> to \u003cem>Wolf Hall\u003c/em>, audiences in this country can’t get enough of the period in English history when women in high places lost their heads and men vied over the size of their cod pieces and ruffs. Marin Theatre Company’s west coast premiere of a 2010 play by Howard Brenton draws us in with the former: The drama begins with the arrival of the ghost of King Henry VIII’s late wife, Anne Boleyn, lugging her severed proboscis in a blood-stained bag. Brenton’s revisionist history casts Henry VIII’s devoutly protestant second wife as an active player in the affairs of the state rather than merely a sorry victim. Watch the cast rehearse the show at Grace Cathedral:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Marin Theatre Company's “Anne Boleyn” rehearsal at Grace Cathedral\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/lxCA-k7TGGQ?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>\u003cstrong>Friday, Apr. 29 – Sunday, May 1: Opera Parallele presents Peter Maxwell Davies’ \u003cem>\u003ca href=\"https://operaparallele.org/the-lighthouse/\" target=\"_blank\" rel=\"noopener\">The Lighthouse\u003c/a>\u003c/em> at Z Space, San Francisco\u003c/strong>\u003cbr>\nOpera Parallele is one of the most innovative contemporary opera companies around, producing edgy work like the recent jazz opera, \u003cem>Champion\u003c/em>, based on the tragic life of the gay heavyweight prizefighter Emile Griffith. The company’s latest offering is a ghost story of a chamber opera inspired by real-life events about the mysterious disappearance of three fisherman stationed at a remote lighthouse off the coast of Scotland. Composer Peter Maxwell Davies’ rhythmic musical score calls for three virtuostic male singers (in this case, Robert Orth, David Cushing and Thomas Glenn) and 12 musicians playing some instruments not typically employed in opera productions like the banjo, guitar and an out-of-tune piano. Check out the preview here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lighthouse - Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gU0dMmUvkv0?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>\u003cstrong>Thursday, May 5 – Sunday, May 8: Liss Fain Dance presents \u003cem>\u003ca href=\"http://www.ybca.org/liss-fain-dance-tacit-consent\" target=\"_blank\" rel=\"noopener\">Tacit Consent\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cbr>\nThe Yerba Buena Center for the Arts has a new mission, emblazoned on billboards around the city — “The Center for the Art of Doing Something About It.” In addition to following through on this aim with civics programming that asked artists and other thinkers to go deep into the most pressing social and political issues of our day, YBCA extends this mission into its collaborations with arts organizations. Such is the case with Liss Fain Dance, which presents an immersive world-premiere sound, video and performance art installation about surveillance and ambiguity. You experience the piece by wondering through four different rooms of the set. Get a taste of the company’s approach here:\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/RrJpLjq6XNE'\n title='//www.youtube.com/embed/RrJpLjq6XNE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Goodbye, Lake Wobegon: 'Prairie Home' is Getting a New Host",
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"content": "\u003cp>No more Guy Noir, Private Eye. No more tales of Dusty and Lefty, the luckless cowboys. And no more weekly “News From Lake Wobegon,” the imaginary Minnesota town famous for strong women, good-looking men and above-average children.\u003c/p>\n\u003cp>Those signature comedy sketches will vanish from the airwaves when humorist and best-selling author Garrison Keillor retires as host of his popular public radio show, \u003cem>A Prairie Home Companion\u003c/em>, this summer. After Keillor, whose sonorous voice and witty writing entertained millions of listeners for four decades, steps down, mandolin ace Chris Thile of the bands Punch Brothers and Nickel Creek will step in as the first full-time replacement host in October.\u003c/p>\n\u003cp>“I thought that the show should press the restart and not try to replicate what it has evolved into,” Keillor explained, “but go back to the beginning and revive itself as a music show with comedy add-ons.”\u003c/p>\n\u003cp>Some things won’t change, Keillor and Thile say. The show’s name will remain \u003cem>A Prairie Home Companion\u003c/em> (for now), its home base will stay at the 1,000-seat, elegantly restored Fitzgerald Theater in downtown St. Paul, and the live show will keep its two-hour Saturday evening time slot. Keillor says he will remain as executive producer and “a remote, benevolent gray eminence who phones in his thoughts every so often.”\u003c/p>\n\u003cp>“Garrison created a template that I think is immortal,” an effervescent Thile said during a recent interview on the Fitzgerald stage. “It doesn’t feel like any kind of constraint. It’s like a license. I feel like I have my license to go and make some good radio.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if the shows Thile guest-hosted in January and February are any indication, listeners can expect a hipper batch of musical performers. Singer-songwriter Ben Folds, alt-country singer Brandi Carlile, multi-instrumentalist and whistler Andrew Bird and Paul Simon — perhaps the biggest musical name to ever perform on “Prairie Home” — were among the guests. Thile just had to pick up the phone and see if Simon was available.\u003c/p>\n\u003cp>Keillor praises Thile’s musical connections as well as his respect for old-time bluegrass music.\u003c/p>\n\u003cp>“It seems to me if anybody was meant to host and produce a musical variety show that has real intensity and integrity, it’s him,” Keillor said in a telephone interview.\u003c/p>\n\u003cp>At 35, Thile is three years older than when Keillor, now 73, started the show in 1974. The sandy-haired singer gushes when talking about succeeding Keillor.\u003c/p>\n\u003cp>“The prospect of getting to make things for people on a weekly basis … is beyond compare. It’s what I love to do,” said Thile, who began listening to “Prairie Home” as a boy. Thile was 15 when he made his first appearance on the show in 1996 and has made a dozen or more visits since then.\u003c/p>\n\u003cp>Instead of Keillor’s weekly monologue about Norwegian bachelor farmers and other residents of his fictional hometown of Lake Wobegon, Thile plans to write a new song every week that may take into account who is on the show. “Prairie Home” pianist and composer Richard Dworsky will remain, and Thile plans to bring back regular performers Tim Russell, Sue Scott and sound-effects guy Fred Newman but perhaps pair them with guest actors or comedians.\u003c/p>\n\u003cp>“Prairie Home” undoubtedly will lose its Minnesota worldview with Anoka native Keillor gone. Thile was born in San Diego, grew up in Idyllwild in the San Jacinto mountains of Southern California and has lived in Kentucky; Nashville, Tennessee; San Francisco and New York. He now lives in Portland, Oregon, with his wife, actress Claire Coffee of the TV show \u003cem>Grimm\u003c/em>, and their young son. Thile plans to stay in Portland, where \u003cem>Grimm\u003c/em> is filmed, and commute for “Prairie Home.”\u003c/p>\n\u003cp>Thile said the new “Prairie Home” will reflect “the increasingly diffuse experience that most people have.”\u003c/p>\n\u003cp>Keillor will tape his final “Prairie Home” on July 1 at the Hollywood Bowl for broadcast the following day in its regular time slot. Thile makes his debut as replacement host Oct. 15 at the Fitzgerald. A 13-show season is planned at first, about half a normal 26-show run.\u003c/p>\n\u003cp>A big part of the show’s revenue comes from stations that pay to carry it. Bill Thomas, director of radio for Prairie Public Broadcasting in North Dakota, said he plans to sign up for the new season to give Thile a chance.\u003c/p>\n\u003cp>“I suspect a lot of people will say they don’t like it, it’s not Garrison Keillor,” Thomas said. “Of course it won’t be. We’ll just have to see.”\u003c/p>\n\u003cp>Both Thile and Keillor say public radio stations need to rally around the new show. “Prairie Home” has a weekly audience of more than 3.5 million listeners on 700 public radio stations in the U.S. When Keillor originally tried to retire in 1987, a substitute show, \u003cem>Good Evening\u003c/em>, hosted by Noah Adams of public radio’s \u003cem>All Things Considered\u003c/em>, lasted just a year.\u003c/p>\n\u003cp>“I think (“Prairie Home”) needs to be handed off to somebody and not just go into rerun purgatory,” Keillor said. “I really think this guy (Thile) brings something to public radio that public radio needs.”\u003c/p>\n\u003cp>___\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>No more Guy Noir, Private Eye. No more tales of Dusty and Lefty, the luckless cowboys. And no more weekly “News From Lake Wobegon,” the imaginary Minnesota town famous for strong women, good-looking men and above-average children.\u003c/p>\n\u003cp>Those signature comedy sketches will vanish from the airwaves when humorist and best-selling author Garrison Keillor retires as host of his popular public radio show, \u003cem>A Prairie Home Companion\u003c/em>, this summer. After Keillor, whose sonorous voice and witty writing entertained millions of listeners for four decades, steps down, mandolin ace Chris Thile of the bands Punch Brothers and Nickel Creek will step in as the first full-time replacement host in October.\u003c/p>\n\u003cp>“I thought that the show should press the restart and not try to replicate what it has evolved into,” Keillor explained, “but go back to the beginning and revive itself as a music show with comedy add-ons.”\u003c/p>\n\u003cp>Some things won’t change, Keillor and Thile say. The show’s name will remain \u003cem>A Prairie Home Companion\u003c/em> (for now), its home base will stay at the 1,000-seat, elegantly restored Fitzgerald Theater in downtown St. Paul, and the live show will keep its two-hour Saturday evening time slot. Keillor says he will remain as executive producer and “a remote, benevolent gray eminence who phones in his thoughts every so often.”\u003c/p>\n\u003cp>“Garrison created a template that I think is immortal,” an effervescent Thile said during a recent interview on the Fitzgerald stage. “It doesn’t feel like any kind of constraint. It’s like a license. I feel like I have my license to go and make some good radio.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if the shows Thile guest-hosted in January and February are any indication, listeners can expect a hipper batch of musical performers. Singer-songwriter Ben Folds, alt-country singer Brandi Carlile, multi-instrumentalist and whistler Andrew Bird and Paul Simon — perhaps the biggest musical name to ever perform on “Prairie Home” — were among the guests. Thile just had to pick up the phone and see if Simon was available.\u003c/p>\n\u003cp>Keillor praises Thile’s musical connections as well as his respect for old-time bluegrass music.\u003c/p>\n\u003cp>“It seems to me if anybody was meant to host and produce a musical variety show that has real intensity and integrity, it’s him,” Keillor said in a telephone interview.\u003c/p>\n\u003cp>At 35, Thile is three years older than when Keillor, now 73, started the show in 1974. The sandy-haired singer gushes when talking about succeeding Keillor.\u003c/p>\n\u003cp>“The prospect of getting to make things for people on a weekly basis … is beyond compare. It’s what I love to do,” said Thile, who began listening to “Prairie Home” as a boy. Thile was 15 when he made his first appearance on the show in 1996 and has made a dozen or more visits since then.\u003c/p>\n\u003cp>Instead of Keillor’s weekly monologue about Norwegian bachelor farmers and other residents of his fictional hometown of Lake Wobegon, Thile plans to write a new song every week that may take into account who is on the show. “Prairie Home” pianist and composer Richard Dworsky will remain, and Thile plans to bring back regular performers Tim Russell, Sue Scott and sound-effects guy Fred Newman but perhaps pair them with guest actors or comedians.\u003c/p>\n\u003cp>“Prairie Home” undoubtedly will lose its Minnesota worldview with Anoka native Keillor gone. Thile was born in San Diego, grew up in Idyllwild in the San Jacinto mountains of Southern California and has lived in Kentucky; Nashville, Tennessee; San Francisco and New York. He now lives in Portland, Oregon, with his wife, actress Claire Coffee of the TV show \u003cem>Grimm\u003c/em>, and their young son. Thile plans to stay in Portland, where \u003cem>Grimm\u003c/em> is filmed, and commute for “Prairie Home.”\u003c/p>\n\u003cp>Thile said the new “Prairie Home” will reflect “the increasingly diffuse experience that most people have.”\u003c/p>\n\u003cp>Keillor will tape his final “Prairie Home” on July 1 at the Hollywood Bowl for broadcast the following day in its regular time slot. Thile makes his debut as replacement host Oct. 15 at the Fitzgerald. A 13-show season is planned at first, about half a normal 26-show run.\u003c/p>\n\u003cp>A big part of the show’s revenue comes from stations that pay to carry it. Bill Thomas, director of radio for Prairie Public Broadcasting in North Dakota, said he plans to sign up for the new season to give Thile a chance.\u003c/p>\n\u003cp>“I suspect a lot of people will say they don’t like it, it’s not Garrison Keillor,” Thomas said. “Of course it won’t be. We’ll just have to see.”\u003c/p>\n\u003cp>Both Thile and Keillor say public radio stations need to rally around the new show. “Prairie Home” has a weekly audience of more than 3.5 million listeners on 700 public radio stations in the U.S. When Keillor originally tried to retire in 1987, a substitute show, \u003cem>Good Evening\u003c/em>, hosted by Noah Adams of public radio’s \u003cem>All Things Considered\u003c/em>, lasted just a year.\u003c/p>\n\u003cp>“I think (“Prairie Home”) needs to be handed off to somebody and not just go into rerun purgatory,” Keillor said. “I really think this guy (Thile) brings something to public radio that public radio needs.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Puppeteering Takes Flight in 'Birdheart' at Z Space",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">What images first come to mind when you think of a puppet show? Punch and Judy, perhaps? Or “The Lonely Goatherd” from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Sound of Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">? \u003c/span>\u003cspan style=\"font-weight: 400\">Grover, Cookie Monster and the Count from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sesame Street? \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">If those are your expectations, \u003c/span>\u003cstrong>\u003ci>\u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">Birdheart\u003c/a>,\u003c/i>\u003c/strong>\u003cspan style=\"font-weight: 400\"> now playing at Z Space in San Francisco, will foil them.\u003c/span> \u003cspan style=\"font-weight: 400\">Conceived of and performed by Julian Crouch and Saskia Lane, this puppet show largely eschews a traditional narrative and favors instead the art of visual transformation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Crouch is a British theater designer and puppet maker based in Brooklyn and well known for his work with the \u003ca href=\"http://www.improbable.co.uk/\" target=\"_blank\" rel=\"noopener\">Improbable Theatre Company\u003c/a> on such shows as \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Devil and Mister Punch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shockheaded Peter. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">In 2015, he received a Tony nomination for the scenic design of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hedwig and the Angry Inch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. In comparison to that raucous showstopper of a musical, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Birdheart\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> lives in a hushed and intimate space. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lane makes up the other half of the duo. A composer and musician by background (she is a member of the hip, New York band \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://biddies.virb.com/\" target=\"_blank\" rel=\"noopener\">The Lascivious Biddies\u003c/a>) she is nevertheless\u003c/span>\u003cspan style=\"font-weight: 400\"> an equal partner to Crouch in the art of making inanimate objects spring to life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11484839\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11484839 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/bird_b.jpg\" alt=\"BIRDHEART - Duke Theater\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_b.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_b-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Saskia Lane (l) and Julian Crouch (r) with one of the creations in ‘Birdheart’ that manifests in front of the audience’s eyes. (Photo: Courtesy of Jill Steinberg)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Crouch and Lane are already on stage as the audience enters the auditorium. They sit next to each other on stools, quietly cutting shapes out of a flesh-colored fabric that pile up at their feet. They look like members of a knitting bee or a sewing circle, fastidious with the work at hand. Once everyone is seated and the lights dimmed, the performers put their scissors down and walk off stage.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11484840\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11484840 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/bird_c.jpg\" alt=\"BIRDHEART - Duke Theater\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_c.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_c-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Saskia Lane (l) and Julian Crouch (r) with one of the creations in the play that manifests in front of the audience’s eyes. (Photo: Courtesy of Jill Steinberg)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they return, each of their faces is covered with a blank mask made from the cut pieces of fabric. Once the performers complete each other’s masks, Crouch grabs a banjo and begins to pluck a jaunty tune. Lane then retrieves her comically large double-bass from backstage and they proceed to finish the song together. For a few minutes, Crouch and Lane appear to be puppets themselves, entirely self-created and entirely alive.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This scene, in fact, serves as a preamble to the core \u003c/span>\u003cspan style=\"font-weight: 400\">part of the program. And it works beautifully. The sweet, lighthearted introduction helps to ease the audience into the more serious content of \u003cem>Birdheart — \u003c/em>a story inspired in part by news stories the artists read a few years ago about albatrosses consuming plastic and other human debris. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It isn’t until Crouch and Lane end the song and remove their masks that \u003ci>Birdheart\u003c/i> truly begins. Standing side by side behind a table topped with a sandbox, the puppeteers bring a mannequin made from brown construction paper to life. On the soundtrack, ocean waves crash on some distant shore. We are transported to a desert island with a solitary creature wandering on a beach somewhere.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Seemingly attached at the hip and sharing an eerie psychic rapport that informs their synchronized movements, the two puppeteers hold the fragile creature up, skillfully make it dance, and eventually give it wings. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Birdheart\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is moving. Despite the primitive materials, it never feels trivial. Crouch and Lane are performing an act of careful attention. They’ve imagined a bird that not only dreams of flight but also achieves it.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Birdheart\u003c/em> plays through Sunday, Apr. 17 at Z Space in San Francisco. Go \u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">What images first come to mind when you think of a puppet show? Punch and Judy, perhaps? Or “The Lonely Goatherd” from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Sound of Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">? \u003c/span>\u003cspan style=\"font-weight: 400\">Grover, Cookie Monster and the Count from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sesame Street? \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">If those are your expectations, \u003c/span>\u003cstrong>\u003ci>\u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">Birdheart\u003c/a>,\u003c/i>\u003c/strong>\u003cspan style=\"font-weight: 400\"> now playing at Z Space in San Francisco, will foil them.\u003c/span> \u003cspan style=\"font-weight: 400\">Conceived of and performed by Julian Crouch and Saskia Lane, this puppet show largely eschews a traditional narrative and favors instead the art of visual transformation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Crouch is a British theater designer and puppet maker based in Brooklyn and well known for his work with the \u003ca href=\"http://www.improbable.co.uk/\" target=\"_blank\" rel=\"noopener\">Improbable Theatre Company\u003c/a> on such shows as \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Devil and Mister Punch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shockheaded Peter. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">In 2015, he received a Tony nomination for the scenic design of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hedwig and the Angry Inch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. In comparison to that raucous showstopper of a musical, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Birdheart\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> lives in a hushed and intimate space. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lane makes up the other half of the duo. A composer and musician by background (she is a member of the hip, New York band \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://biddies.virb.com/\" target=\"_blank\" rel=\"noopener\">The Lascivious Biddies\u003c/a>) she is nevertheless\u003c/span>\u003cspan style=\"font-weight: 400\"> an equal partner to Crouch in the art of making inanimate objects spring to life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11484839\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11484839 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/bird_b.jpg\" alt=\"BIRDHEART - Duke Theater\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_b.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_b-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Saskia Lane (l) and Julian Crouch (r) with one of the creations in ‘Birdheart’ that manifests in front of the audience’s eyes. (Photo: Courtesy of Jill Steinberg)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Crouch and Lane are already on stage as the audience enters the auditorium. They sit next to each other on stools, quietly cutting shapes out of a flesh-colored fabric that pile up at their feet. They look like members of a knitting bee or a sewing circle, fastidious with the work at hand. Once everyone is seated and the lights dimmed, the performers put their scissors down and walk off stage.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11484840\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11484840 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/bird_c.jpg\" alt=\"BIRDHEART - Duke Theater\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_c.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/bird_c-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Saskia Lane (l) and Julian Crouch (r) with one of the creations in the play that manifests in front of the audience’s eyes. (Photo: Courtesy of Jill Steinberg)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they return, each of their faces is covered with a blank mask made from the cut pieces of fabric. Once the performers complete each other’s masks, Crouch grabs a banjo and begins to pluck a jaunty tune. Lane then retrieves her comically large double-bass from backstage and they proceed to finish the song together. For a few minutes, Crouch and Lane appear to be puppets themselves, entirely self-created and entirely alive.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This scene, in fact, serves as a preamble to the core \u003c/span>\u003cspan style=\"font-weight: 400\">part of the program. And it works beautifully. The sweet, lighthearted introduction helps to ease the audience into the more serious content of \u003cem>Birdheart — \u003c/em>a story inspired in part by news stories the artists read a few years ago about albatrosses consuming plastic and other human debris. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It isn’t until Crouch and Lane end the song and remove their masks that \u003ci>Birdheart\u003c/i> truly begins. Standing side by side behind a table topped with a sandbox, the puppeteers bring a mannequin made from brown construction paper to life. On the soundtrack, ocean waves crash on some distant shore. We are transported to a desert island with a solitary creature wandering on a beach somewhere.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Seemingly attached at the hip and sharing an eerie psychic rapport that informs their synchronized movements, the two puppeteers hold the fragile creature up, skillfully make it dance, and eventually give it wings. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Birdheart\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is moving. Despite the primitive materials, it never feels trivial. Crouch and Lane are performing an act of careful attention. They’ve imagined a bird that not only dreams of flight but also achieves it.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Birdheart\u003c/em> plays through Sunday, Apr. 17 at Z Space in San Francisco. Go \u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "L.A. Stage Drama Journeys to the Heart of Child Immigrant Crisis",
"title": "L.A. Stage Drama Journeys to the Heart of Child Immigrant Crisis",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Sunrise is just starting to peak through the palm trees at Lincoln Park in East L.A. as a flatbed truck hauling a sky-blue shipping container pulls up at the edge of a dirt volleyball court. At 20 feet across and 8 feet tall, it’s the main set piece and stage for a play produced by the California Institute of the Arts called \"\u003ca href=\"http://centerfornewperformance.org/project/shelter/\">Shelter\u003c/a>.\"\u003c/p>\n\u003cp>“In a lot of ways, that shipping container is kind of an abstraction of a railroad car. But it's also this metaphor of a box where people are trapped, a box where people are kept and corralled, so it functions on a variety of levels,” says producer Mark Valdez.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/258066894\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The play, produced by the California Institute of the Arts, revolves around a band of teenage migrants as they make the journey north to the U.S. without parents or adult guardians.\u003c/p>\n\u003cp>“And it follows their journeys, from leaving their home countries, traveling through Mexico on ‘La Bestia’, the beast, which is what they call the train that crosses through the entirety of Mexico,” explains Valdez.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At an evening dress rehearsal earlier this week, young actors from CalArts run through the action under the watchful eye of veteran Mexico City-based stage director Martin Acosta.\u003c/p>\n\u003cfigure id=\"attachment_10924033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg\" alt=\""Shelter" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park.\" width=\"800\" height=\"520\" class=\"size-medium wp-image-10924033\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-400x260.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-1180x768.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-960x625.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Shelter\" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually my first experience outside, outdoors. I am learning,” laughs Acosta.\u003c/p>\n\u003cp>It’s a physical performance. Actors roll and tumble across the dust. They dance, sing, kick a soccer ball around and perch themselves atop that makeshift 8-foot train car.\u003c/p>\n\u003cp>“Actually, there is a train,” says Acosta, as a freighter rumbles along the Union Pacific rail line that runs by Lincoln Park’s southern tip. “It probably (will) come during the performance. I think it’s great.”\u003c/p>\n\u003cp>\"Shelter\" is being presented with no barriers between “the stage” and the day-day-day life of this largely Latino East L.A. neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10924043\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924043 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg\" alt=\"Actors rehearse for the play "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-400x255.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-1180x752.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for the play 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No tickets are required for the free performances. People can stay and watch the whole thing. Or just watch a few scenes as they pass through the park. During rehearsal, children on bicycles, joggers and dog walkers watch the drama unfold.\u003c/p>\n\u003cp>\"Shelter’s\" story is rooted in the mass migration of tens of thousands of young people who have crossed or tried crossing into the U.S. illegally over the last few years. The number of unaccompanied minors apprehended by U.S. authorities spiked in 2014, though thousands still risk the journey.\u003c/p>\n\u003cp>“In a way, they are looking for more than the American dream. They are looking for their families. And during the travel they are invisible because it's getting dangerous for them,” says Acosta\u003c/p>\n\u003cp>\"Shelter\" walks a fine line between drama and politics. In one scene three teenage girls confide their fears to one another while curled up on cots in a temporary federal holding facility.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"315\" src=\"http://www.hulu.com/embed.html?eid=g3jn8cyf0ynrvlt34nphka\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Has anyone, you know, hurt you?” asks one girl.\u003c/p>\n\u003cp>“No, not here, we’re safe here,” says another.\u003c/p>\n\u003cp>“How do you know that?” wonders another.\u003c/p>\n\u003cp>In another scene the same actors adopt the voices and actual words of real-life pundits, politicians and activists.\u003c/p>\n\u003cp>“This crisis is Obama-made,” exclaims one.\u003c/p>\n\u003cp>“They have heard from all their friends and relatives that if they get to the U.S. all will be taken care of,” says another.\u003c/p>\n\u003cp>“We call that section, people circling the crisis from above,” says \"Shelter\" playwright \u003ca href=\"http://www.marissachibas.com/bio.html\">Marissa Chibas\u003c/a>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>“There's no question that we are wanting to let these kids' voices be heard and their personal stories to be revealed. And those are the stories that we’re not hearing enough of,” says Chibas. “About just how dangerous it is back home for some of these kids.”\u003c/p>\n\u003cfigure id=\"attachment_10924110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924110 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg\" alt=\"Actors rehearse for "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"505\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-1180x744.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chibas met and interviewed several young immigrants while writing the script. Many were fleeing poverty or murderous organized gangs. All are still living in the U.S., their immigration cases pending in federal court. Some of them also had a chance to meet and speak with the actors and check out a preview of \"Shelter.\"\u003c/p>\n\u003cp>“I don't think I've ever been more nervous for anything in my life than the night they were watching,” laughs Chibas. “But they recognized themselves and one of the young woman said: 'I feel represented.' And I felt like, OK, we’ve done our job.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After its run of performances at L.A.’s Lincoln Park wraps up next weekend, producers hope to take the play on the road to other cities across the U.S.\u003c/p>\n\n",
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"excerpt": "'We are wanting to let these kids' voices be heard and their personal stories to be revealed. And those are the stories that we’re not hearing enough of,' says the playwright.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunrise is just starting to peak through the palm trees at Lincoln Park in East L.A. as a flatbed truck hauling a sky-blue shipping container pulls up at the edge of a dirt volleyball court. At 20 feet across and 8 feet tall, it’s the main set piece and stage for a play produced by the California Institute of the Arts called \"\u003ca href=\"http://centerfornewperformance.org/project/shelter/\">Shelter\u003c/a>.\"\u003c/p>\n\u003cp>“In a lot of ways, that shipping container is kind of an abstraction of a railroad car. But it's also this metaphor of a box where people are trapped, a box where people are kept and corralled, so it functions on a variety of levels,” says producer Mark Valdez.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/258066894&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/258066894'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The play, produced by the California Institute of the Arts, revolves around a band of teenage migrants as they make the journey north to the U.S. without parents or adult guardians.\u003c/p>\n\u003cp>“And it follows their journeys, from leaving their home countries, traveling through Mexico on ‘La Bestia’, the beast, which is what they call the train that crosses through the entirety of Mexico,” explains Valdez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At an evening dress rehearsal earlier this week, young actors from CalArts run through the action under the watchful eye of veteran Mexico City-based stage director Martin Acosta.\u003c/p>\n\u003cfigure id=\"attachment_10924033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg\" alt=\""Shelter" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park.\" width=\"800\" height=\"520\" class=\"size-medium wp-image-10924033\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-400x260.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-1180x768.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-960x625.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Shelter\" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually my first experience outside, outdoors. I am learning,” laughs Acosta.\u003c/p>\n\u003cp>It’s a physical performance. Actors roll and tumble across the dust. They dance, sing, kick a soccer ball around and perch themselves atop that makeshift 8-foot train car.\u003c/p>\n\u003cp>“Actually, there is a train,” says Acosta, as a freighter rumbles along the Union Pacific rail line that runs by Lincoln Park’s southern tip. “It probably (will) come during the performance. I think it’s great.”\u003c/p>\n\u003cp>\"Shelter\" is being presented with no barriers between “the stage” and the day-day-day life of this largely Latino East L.A. neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10924043\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924043 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg\" alt=\"Actors rehearse for the play "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-400x255.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-1180x752.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for the play 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No tickets are required for the free performances. People can stay and watch the whole thing. Or just watch a few scenes as they pass through the park. During rehearsal, children on bicycles, joggers and dog walkers watch the drama unfold.\u003c/p>\n\u003cp>\"Shelter’s\" story is rooted in the mass migration of tens of thousands of young people who have crossed or tried crossing into the U.S. illegally over the last few years. The number of unaccompanied minors apprehended by U.S. authorities spiked in 2014, though thousands still risk the journey.\u003c/p>\n\u003cp>“In a way, they are looking for more than the American dream. They are looking for their families. And during the travel they are invisible because it's getting dangerous for them,” says Acosta\u003c/p>\n\u003cp>\"Shelter\" walks a fine line between drama and politics. In one scene three teenage girls confide their fears to one another while curled up on cots in a temporary federal holding facility.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"315\" src=\"http://www.hulu.com/embed.html?eid=g3jn8cyf0ynrvlt34nphka\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Has anyone, you know, hurt you?” asks one girl.\u003c/p>\n\u003cp>“No, not here, we’re safe here,” says another.\u003c/p>\n\u003cp>“How do you know that?” wonders another.\u003c/p>\n\u003cp>In another scene the same actors adopt the voices and actual words of real-life pundits, politicians and activists.\u003c/p>\n\u003cp>“This crisis is Obama-made,” exclaims one.\u003c/p>\n\u003cp>“They have heard from all their friends and relatives that if they get to the U.S. all will be taken care of,” says another.\u003c/p>\n\u003cp>“We call that section, people circling the crisis from above,” says \"Shelter\" playwright \u003ca href=\"http://www.marissachibas.com/bio.html\">Marissa Chibas\u003c/a>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>“There's no question that we are wanting to let these kids' voices be heard and their personal stories to be revealed. And those are the stories that we’re not hearing enough of,” says Chibas. “About just how dangerous it is back home for some of these kids.”\u003c/p>\n\u003cfigure id=\"attachment_10924110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924110 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg\" alt=\"Actors rehearse for "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"505\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-1180x744.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chibas met and interviewed several young immigrants while writing the script. Many were fleeing poverty or murderous organized gangs. All are still living in the U.S., their immigration cases pending in federal court. Some of them also had a chance to meet and speak with the actors and check out a preview of \"Shelter.\"\u003c/p>\n\u003cp>“I don't think I've ever been more nervous for anything in my life than the night they were watching,” laughs Chibas. “But they recognized themselves and one of the young woman said: 'I feel represented.' And I felt like, OK, we’ve done our job.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After its run of performances at L.A.’s Lincoln Park wraps up next weekend, producers hope to take the play on the road to other cities across the U.S.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "why-z-spaces-a-house-tour-is-not-like-touring-winchester-mystery-house-or-hearst-castle",
"title": "Why Z Space's 'A House Tour' is Not like Touring Other Famous Stately Homes",
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"content": "\u003cp>Peter Sinn Nachtrieb has done something rather amazing with his new play, \u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/a>\u003c/em>, at Z Space. The dramatist has taken the docent-led house tours you find at famous stately homes and their ilk and lovingly recreated their most irritating and hollow qualities. By doing so, Nachtrieb has turned what might at best be considered a degraded and unrecognized form of theater into something chttps://kqed-wingspan.silkroad.com/ws/Login.aspx?ReturnUrl=%2fws#lose to a potent and moving piece of art.\u003c/p>\n\u003cp>This alchemical stunt begins right in the Z space lobby, which has been decked out to resemble the starting point of the tackiest of historical house tours. There’s the endlessly looping informational video, as portentous as it is delightfully nonsensical: “Billions of years ago, Mother Nature forged the Planet Earth and this land we stand on.” There are the mannequins in period costumes, posed to suggest a drama and animation that they can’t come close to realizing. And most prominently, there is our docent and guide, Weston Ludlow Londonderry. The character is brought to life in a sustained and amazing performance by veteran Bay Area actor Danny Scheie, for whom Nachtrieb wrote the play.\u003c/p>\n\u003cp>Nachtrieb expertly balances two unrelated narratives throughout. The first is the love story of Hubert and Clarissa Porter — this after all is the Porter Family Mansion tour. The second is that of Londonderry himself, the epitome of the know-it-all docent. Like all of his kind, Londonderry possesses an inflated sense of purpose and a maniacal belief in the importance of the lives he recounts to unenlightened tourists. Sadly, he knows the Porters better than he knows himself.\u003c/p>\n\u003cfigure id=\"attachment_11470012\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470012 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/House_edit4-800x493.jpg\" alt=\"House_edit4\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Weston Ludlow Londonderry (Danny Scheie) plays peek-a-boo with the audience in Peter Sinn Nachtrieb’s ‘A House Tour.’ Photo: Julie Schuchard.\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s one of Nachtrieb’s better and most effecting jokes: what exactly is Londonderry’s level of awareness? Does he know that he’s a fool? That he’s explosively violent? That he’s gay? When he mentions his wife — “Don’t get me started on the wife that I have” — the audience erupts in joyful disbelief. That he’s only happy when he’s talking in the filthiest possible manner seems funny at first and then becomes an awful self-flagellation. And the beautiful complexity of it all is that Nachtrieb perfectly realizes these psychic fissures in the canned performance of “docent talk.” This is parody as a form of self-revelation.\u003c/p>\n\u003cp>Now in real life, docents are often inept performers; and the tours they lead, the graveyard of talentless drama majors. And that’s where \u003cem>A House Tour\u003c/em> gets most of its strange charge. Because Scheie is so electric and Nachtrieb’s writing so alert and ornate, the situation of the tour gathers a tension and depth that you never would have imagined. You start to understand the love story of Hubert and Clarissa as Londonderry does, and so his belief in the couple’s significance starts to seem both justified and a mystery worth solving.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What room will Londonderry lead us to next? Which will he skip? Why is he so obsessed with Hubert and Clarissa’s mammoth bathroom? Why do we have to eat cookies there? Most importantly, how will the space itself bend to his will? In Sean Riley’s amazing set that’s exactly what happens: rooms appear, reconfigure, and disappear in strange ways. It’s as if the house has come alive to Londonderry’s mania; the effect is hallucinatory and a triumph of writing and design.\u003c/p>\n\u003cp>Most environmental or immersive productions are clunky and visually dead. All that moving around tends to dissipate the narrative tension, and the lack of consistent sight lines doesn’t allow for complex and sustained images. Nachtrieb and Riley account for those limitations by accounting for everything. There’s almost no inconsequential shuffling from room to room. And there are scores of stunning images — a magical bar of butter, a mass of people rubbing their hands in a bathroom, a crowd marching for the pleasure of a German butler, the sky opening up to reveal one man’s quest for transcendence. At first these moments seem like happenstance, but happenstance doesn’t happen over and over again.\u003c/p>\n\u003cp>Nachtrieb is the resident playwright at Z Space and wrote \u003cem>A House Tour\u003c/em> specially for the distinct possibilities of that huge warehouse space. It’s a brilliantly conceived and executed stunt that burrows deep into the psyche of a sick man. The fact that it’s all so fun and delightful is, upon reflection, more than a little disturbing. I’m not sure that it ends as it should, or that Nachtrieb has realized the full complexity of what he’s set in motion. You exit the theater wanting that last bit of wild that neither play nor production seems quite ready to embrace.\u003c/p>\n\u003cp>And yet what we have is masterful. \u003cem>A House Tour\u003c/em> is a play that makes us want to take on the delusions of an angry fool and see even the nastiest of that fool’s desires as significant and worthy of respect. Let us all be kind to the house tour docents of the world — without them, no mystery would ever be solved.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Tour (Trailer for the upcoming play)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cJTngYUWuOk?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>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/a>\u003c/em> plays through Saturday, Apr. 23 at the Z Space in San Francisco. For tickets and information go to www.zspace.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Peter Sinn Nachtrieb has done something rather amazing with his new play, \u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/a>\u003c/em>, at Z Space. The dramatist has taken the docent-led house tours you find at famous stately homes and their ilk and lovingly recreated their most irritating and hollow qualities. By doing so, Nachtrieb has turned what might at best be considered a degraded and unrecognized form of theater into something chttps://kqed-wingspan.silkroad.com/ws/Login.aspx?ReturnUrl=%2fws#lose to a potent and moving piece of art.\u003c/p>\n\u003cp>This alchemical stunt begins right in the Z space lobby, which has been decked out to resemble the starting point of the tackiest of historical house tours. There’s the endlessly looping informational video, as portentous as it is delightfully nonsensical: “Billions of years ago, Mother Nature forged the Planet Earth and this land we stand on.” There are the mannequins in period costumes, posed to suggest a drama and animation that they can’t come close to realizing. And most prominently, there is our docent and guide, Weston Ludlow Londonderry. The character is brought to life in a sustained and amazing performance by veteran Bay Area actor Danny Scheie, for whom Nachtrieb wrote the play.\u003c/p>\n\u003cp>Nachtrieb expertly balances two unrelated narratives throughout. The first is the love story of Hubert and Clarissa Porter — this after all is the Porter Family Mansion tour. The second is that of Londonderry himself, the epitome of the know-it-all docent. Like all of his kind, Londonderry possesses an inflated sense of purpose and a maniacal belief in the importance of the lives he recounts to unenlightened tourists. Sadly, he knows the Porters better than he knows himself.\u003c/p>\n\u003cfigure id=\"attachment_11470012\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470012 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/House_edit4-800x493.jpg\" alt=\"House_edit4\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/House_edit4-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Weston Ludlow Londonderry (Danny Scheie) plays peek-a-boo with the audience in Peter Sinn Nachtrieb’s ‘A House Tour.’ Photo: Julie Schuchard.\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s one of Nachtrieb’s better and most effecting jokes: what exactly is Londonderry’s level of awareness? Does he know that he’s a fool? That he’s explosively violent? That he’s gay? When he mentions his wife — “Don’t get me started on the wife that I have” — the audience erupts in joyful disbelief. That he’s only happy when he’s talking in the filthiest possible manner seems funny at first and then becomes an awful self-flagellation. And the beautiful complexity of it all is that Nachtrieb perfectly realizes these psychic fissures in the canned performance of “docent talk.” This is parody as a form of self-revelation.\u003c/p>\n\u003cp>Now in real life, docents are often inept performers; and the tours they lead, the graveyard of talentless drama majors. And that’s where \u003cem>A House Tour\u003c/em> gets most of its strange charge. Because Scheie is so electric and Nachtrieb’s writing so alert and ornate, the situation of the tour gathers a tension and depth that you never would have imagined. You start to understand the love story of Hubert and Clarissa as Londonderry does, and so his belief in the couple’s significance starts to seem both justified and a mystery worth solving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What room will Londonderry lead us to next? Which will he skip? Why is he so obsessed with Hubert and Clarissa’s mammoth bathroom? Why do we have to eat cookies there? Most importantly, how will the space itself bend to his will? In Sean Riley’s amazing set that’s exactly what happens: rooms appear, reconfigure, and disappear in strange ways. It’s as if the house has come alive to Londonderry’s mania; the effect is hallucinatory and a triumph of writing and design.\u003c/p>\n\u003cp>Most environmental or immersive productions are clunky and visually dead. All that moving around tends to dissipate the narrative tension, and the lack of consistent sight lines doesn’t allow for complex and sustained images. Nachtrieb and Riley account for those limitations by accounting for everything. There’s almost no inconsequential shuffling from room to room. And there are scores of stunning images — a magical bar of butter, a mass of people rubbing their hands in a bathroom, a crowd marching for the pleasure of a German butler, the sky opening up to reveal one man’s quest for transcendence. At first these moments seem like happenstance, but happenstance doesn’t happen over and over again.\u003c/p>\n\u003cp>Nachtrieb is the resident playwright at Z Space and wrote \u003cem>A House Tour\u003c/em> specially for the distinct possibilities of that huge warehouse space. It’s a brilliantly conceived and executed stunt that burrows deep into the psyche of a sick man. The fact that it’s all so fun and delightful is, upon reflection, more than a little disturbing. I’m not sure that it ends as it should, or that Nachtrieb has realized the full complexity of what he’s set in motion. You exit the theater wanting that last bit of wild that neither play nor production seems quite ready to embrace.\u003c/p>\n\u003cp>And yet what we have is masterful. \u003cem>A House Tour\u003c/em> is a play that makes us want to take on the delusions of an angry fool and see even the nastiest of that fool’s desires as significant and worthy of respect. Let us all be kind to the house tour docents of the world — without them, no mystery would ever be solved.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"House Tour (Trailer for the upcoming play)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cJTngYUWuOk?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>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/a>\u003c/em> plays through Saturday, Apr. 23 at the Z Space in San Francisco. For tickets and information go to www.zspace.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Now through Saturday, Apr. 23: \u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Ludlow Londonderry\u003c/a> at \u003c/em>\u003c/b>\u003cstrong>Z Space, San Francisco\u003c/strong>\u003cbr>\nThe world premiere of a surreal, interactive comedy by national award-winning San Francisco playwright Peter Sinn Nachtrieb inspired in part by tours of kitsch historic mansions like Hearst Castle and the Winchester Mystery House. Stars Danny Scheie in a role written specifically for the Bay Area veteran actor.\u003c/p>\n\u003cp>\u003cstrong>Also at Z Space, Wednesday, Apr. 6 – Tuesday, Apr. 12: \u003cem>\u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">Birdheart\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nMaster puppeteer Julian Crouch \u003cspan style=\"font-weight: 400\">(who did the \u003c/span>\u003cspan style=\"font-weight: 400\">Tony-nominated scenic design for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hedwig and the Angry Inch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">)\u003c/span>\u003cspan style=\"font-weight: 400\"> and Lascivious Biddies rock band member, SF native, and Jay Z/Beyonce collaborator Saskia Lane join forces for a \u003c/span>\u003cspan style=\"font-weight: 400\">quirky table-top puppet show that weaves a beautiful story \u003c/span>\u003cspan style=\"font-weight: 400\">from ordinary things: crumpled brown paper, found objects, shadows and a mound of sand.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ESHFuipJsUM\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Apr. 10: Capacitor presents \u003cem>\u003ca href=\"http://www.capacitor.org/when-we-were-small/\" target=\"_blank\" rel=\"noopener\">When We Were Small\u003c/a>\u003c/em>\u003c/b> \u003cstrong>at\u003c/strong> \u003cb>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\n\u003c/b>The Bay Area-based performing arts company presents a new show at the intersection of dance and circus arts looking at what it’s like to experience the world when you’re two years old.\u003c/p>\n\u003cp>\u003cb>Now through Saturday,\u003c/b>\u003cb> Dec. 31: History San Jose presents \u003cem>\u003ca href=\"http://historysanjose.org/wp/event/tattooed-tenacious-inked-women-in-californias-history-exhibit/\" target=\"_blank\" rel=\"noopener\">Tattooed & Tenacious: Inked Women in California’s History\u003c/a> \u003c/em>\u003c/b>\u003cb>at the Pasetta House, History Park, San Jose\u003cbr>\n\u003c/b>A quirky and fascinating exhibition of photos, art work and artifacts relating to the little-known culture of female tattoo wearers and artists in the Golden State.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 9 and Sunday, Apr. 10: Early music supergroups from England — \u003ca href=\"http://calperformances.org/performances/2015-16/early-music/tallis-scholars.php\" target=\"_blank\" rel=\"noopener\">The Tallis Scholars\u003c/a> and \u003ca href=\"http://sfems.org/?page_id=7325\" target=\"_blank\" rel=\"noopener\">Stile Antico\u003c/a>, First Congregational Church, Berkeley\u003c/strong>\u003cbr>\nBinge out on Renaissance hits over a single weekend with a pair of concerts by two of the world’s foremost early music ensembles: Cal Performances presents the august British vocal ensemble The Tallis Scholars (Apr. 9) and the San Francisco Early Music Society hosts a visit from hip, young Stile Antico, also from England (Apr. 10).\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Apr. 5: \u003c/strong>\u003cb>\u003ca href=\"http://www.sfartscommission.org/event/celebration-honoring-2016-mayors-art-award-recipient-armistead-maupin/\" target=\"_blank\" rel=\"noopener\">Armistead Maupin in conversation with Jewelle Gomez\u003c/a> at Herbst Theatre, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The \u003ci>Tales of the City\u003c/i>\u003c/span>\u003cspan style=\"font-weight: 400\"> author appears in conversation with writer Jewelle Gomez to celebrate his receipt of the \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.sfartscommission.org/2016/02/mayor-lee-announces-armistead-maupin-as-recipient-of-2016-mayors-art-award/\">2016 Mayor’s Art Award\u003c/a>, \u003c/span>\u003cspan style=\"font-weight: 400\">San Francisco’s highest artistic prize. Maupin is the first author to win this accolade. The event is free.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Now through Saturday, Apr. 23: \u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Ludlow Londonderry\u003c/a> at \u003c/em>\u003c/b>\u003cstrong>Z Space, San Francisco\u003c/strong>\u003cbr>\nThe world premiere of a surreal, interactive comedy by national award-winning San Francisco playwright Peter Sinn Nachtrieb inspired in part by tours of kitsch historic mansions like Hearst Castle and the Winchester Mystery House. Stars Danny Scheie in a role written specifically for the Bay Area veteran actor.\u003c/p>\n\u003cp>\u003cstrong>Also at Z Space, Wednesday, Apr. 6 – Tuesday, Apr. 12: \u003cem>\u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">Birdheart\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nMaster puppeteer Julian Crouch \u003cspan style=\"font-weight: 400\">(who did the \u003c/span>\u003cspan style=\"font-weight: 400\">Tony-nominated scenic design for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hedwig and the Angry Inch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">)\u003c/span>\u003cspan style=\"font-weight: 400\"> and Lascivious Biddies rock band member, SF native, and Jay Z/Beyonce collaborator Saskia Lane join forces for a \u003c/span>\u003cspan style=\"font-weight: 400\">quirky table-top puppet show that weaves a beautiful story \u003c/span>\u003cspan style=\"font-weight: 400\">from ordinary things: crumpled brown paper, found objects, shadows and a mound of sand.\u003c/span>\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/ESHFuipJsUM'\n title='//www.youtube.com/embed/ESHFuipJsUM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Now through Sunday, Apr. 10: Capacitor presents \u003cem>\u003ca href=\"http://www.capacitor.org/when-we-were-small/\" target=\"_blank\" rel=\"noopener\">When We Were Small\u003c/a>\u003c/em>\u003c/b> \u003cstrong>at\u003c/strong> \u003cb>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\n\u003c/b>The Bay Area-based performing arts company presents a new show at the intersection of dance and circus arts looking at what it’s like to experience the world when you’re two years old.\u003c/p>\n\u003cp>\u003cb>Now through Saturday,\u003c/b>\u003cb> Dec. 31: History San Jose presents \u003cem>\u003ca href=\"http://historysanjose.org/wp/event/tattooed-tenacious-inked-women-in-californias-history-exhibit/\" target=\"_blank\" rel=\"noopener\">Tattooed & Tenacious: Inked Women in California’s History\u003c/a> \u003c/em>\u003c/b>\u003cb>at the Pasetta House, History Park, San Jose\u003cbr>\n\u003c/b>A quirky and fascinating exhibition of photos, art work and artifacts relating to the little-known culture of female tattoo wearers and artists in the Golden State.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Opera Invites Audiences to a Serbian Bachelorette Party",
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"content": "\u003cp>Bachelorette parties — the limos laden with drunken damsels whooping it up in wine country, the wet T-shirt competitions in Las Vegas bars — are by no means unique to the United States. Pre-nuptial traditions are a thing in almost every country in the world. People do it a little differently depending on where you go, though.\u003c/p>\n\u003cp>The Scots like to “tar and feather” a girl the night before her wedding, by slathering her with various sticky substances and feathers and then parading her around town. The Germans smash plates and kidnap the bride-to-be. Ladies get to drive around naked 24 hours before they tie the knot in Argentina. Meanwhile, women in central China invite their close female relatives over for a good cry.\u003c/p>\n\u003cp>And then there’s the soon-to-be-weds of Serbia, who, judging by a contemporary chamber opera by composer Ana Sokolovic, like nothing more than to get together and sing on a girl’s wedding night. Sokolovic’s \u003cem>\u003ca href=\"http://sfopera.com/sfoperalab/season-one/svadba-wedding/#!\" target=\"_blank\" rel=\"noopener\">Svadba-Wedding\u003c/a>\u003c/em>, created for six female performers singing without instrumental accompaniment looks at a group of young women as they convene to celebrate — and mourn — the impending espousal of one of their number.\u003c/p>\n\u003cp>The work is being produced as part of San Francisco Opera’s new \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a> program from Saturday, Apr. 2 through Sunday, Apr. 10 under the direction of Michael Cavanagh, Dáirine Ní Mheadhra and John Hess, and stars Jacqueline Woodley as Milica, the lucky bachelorette.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SF Opera Lab - What is Svadba?\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IWb8-eyS_1s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sokolovic, a native of Serbia who currently lives in Montreal, composed the hour-long work as a way to explore the strong feelings that girlfriends share before they get saddled with husbands. “It’s an important emotional moment,” she says.\u003c/p>\n\u003cp>To that end, she’s composed energetic, irrepressible music inspired by Igor Stravinsky (the Russian composer’s \u003cem>Svadebka\u003c/em> is a ballet and orchestral concert work for percussion, pianists, chorus, and vocal soloists) as well as the close-crunchy harmonies of Balkan vocal music and the rhythms of jazz and pop.\u003c/p>\n\u003cp>\u003cem>Listen to music from the opera:\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/86866374″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>The production team is making sure that audience members who attend the show get to feel like they’re truly part of this Serbian hen night. They’re inviting people to stay on and celebrate with a DJ, champagne and wedding cake.\u003c/p>\n\u003cp>\u003cem>Watch a 2015 production of the opera from the Festival d’Aix en Provence in France:\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://concert.arte.tv/fr/svadba-dana-sokolovic-au-festival-daix-en-provence\">http://concert.arte.tv/fr/svadba-dana-sokolovic-au-festival-daix-en-provence\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Svadba-Wedding\u003c/em> plays Saturday, Apr. 2 – Sunday, Apr. 10 at The War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"http://sfopera.com/sfoperalab/season-one/svadba-wedding/#!\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bachelorette parties — the limos laden with drunken damsels whooping it up in wine country, the wet T-shirt competitions in Las Vegas bars — are by no means unique to the United States. Pre-nuptial traditions are a thing in almost every country in the world. People do it a little differently depending on where you go, though.\u003c/p>\n\u003cp>The Scots like to “tar and feather” a girl the night before her wedding, by slathering her with various sticky substances and feathers and then parading her around town. The Germans smash plates and kidnap the bride-to-be. Ladies get to drive around naked 24 hours before they tie the knot in Argentina. Meanwhile, women in central China invite their close female relatives over for a good cry.\u003c/p>\n\u003cp>And then there’s the soon-to-be-weds of Serbia, who, judging by a contemporary chamber opera by composer Ana Sokolovic, like nothing more than to get together and sing on a girl’s wedding night. Sokolovic’s \u003cem>\u003ca href=\"http://sfopera.com/sfoperalab/season-one/svadba-wedding/#!\" target=\"_blank\" rel=\"noopener\">Svadba-Wedding\u003c/a>\u003c/em>, created for six female performers singing without instrumental accompaniment looks at a group of young women as they convene to celebrate — and mourn — the impending espousal of one of their number.\u003c/p>\n\u003cp>The work is being produced as part of San Francisco Opera’s new \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a> program from Saturday, Apr. 2 through Sunday, Apr. 10 under the direction of Michael Cavanagh, Dáirine Ní Mheadhra and John Hess, and stars Jacqueline Woodley as Milica, the lucky bachelorette.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SF Opera Lab - What is Svadba?\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IWb8-eyS_1s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sokolovic, a native of Serbia who currently lives in Montreal, composed the hour-long work as a way to explore the strong feelings that girlfriends share before they get saddled with husbands. “It’s an important emotional moment,” she says.\u003c/p>\n\u003cp>To that end, she’s composed energetic, irrepressible music inspired by Igor Stravinsky (the Russian composer’s \u003cem>Svadebka\u003c/em> is a ballet and orchestral concert work for percussion, pianists, chorus, and vocal soloists) as well as the close-crunchy harmonies of Balkan vocal music and the rhythms of jazz and pop.\u003c/p>\n\u003cp>\u003cem>Listen to music from the opera:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/86866374″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/playlists/86866374″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The production team is making sure that audience members who attend the show get to feel like they’re truly part of this Serbian hen night. They’re inviting people to stay on and celebrate with a DJ, champagne and wedding cake.\u003c/p>\n\u003cp>\u003cem>Watch a 2015 production of the opera from the Festival d’Aix en Provence in France:\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://concert.arte.tv/fr/svadba-dana-sokolovic-au-festival-daix-en-provence\">http://concert.arte.tv/fr/svadba-dana-sokolovic-au-festival-daix-en-provence\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Svadba-Wedding\u003c/em> plays Saturday, Apr. 2 – Sunday, Apr. 10 at The War Memorial Opera House in San Francisco. Tickets and information \u003ca href=\"http://sfopera.com/sfoperalab/season-one/svadba-wedding/#!\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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