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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Kennedy Center has been in upheaval since Trump forced out the center’s leadership and took over as chair of the board of trustees. His decision to do so is part of his broad campaign against “woke” culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Actor Issa Rae, singer-musician Rhiannon Giddens, author Louise Penny and the rock band Low Cut Connie also have canceled scheduled Kennedy Center events. Singer-songwriter Victoria Clark went ahead with her Feb. 15 show, but on stage wore a T-shirt reading “ANTI TRUMP AF.” Bay Area comedian and director \u003ca href=\"https://www.kqed.org/arts/13971959/w-kamau-bell-kennedy-center-trump\">W. Kamau Bell also performed his scheduled shows\u003c/a>. \u003c/p>\n\u003cp>This is not the first time the musical has taken a political stance. In 2016, \u003ca href=\"https://www.kqed.org/arts/12368326/counterpoint-the-theater-should-not-be-a-safe-place\">the \u003cem>Hamilton\u003c/em> cast delivered a curtain call appeal to Vice President-elect Mike Pence\u003c/a>, who was in the Broadway audience, asking that the Trump administration “uphold our American values” and “work on behalf of all of us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Kennedy Center, supported by government money and private donations, attracts millions of visitors each year to a complex that features a concert hall, opera house and theater, along with a lecture hall, meeting spaces and a “Millennium Stage” that has been the site for free shows.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Travel back in time, and you’ll find an \u003ca href=\"https://www.psychologytoday.com/us/blog/divorce-busting/202002/the-singing-cow\">axiom of practical wisdom\u003c/a>: “Never teach a cow to sing. It wastes time, and annoys the cow.”\u003c/p>\n\u003cp>At \u003cem>Back to the Future: The Musical\u003c/em>, which opened Thursday night in San Francisco, the cow is the audience of \u003cem>Back to the Future\u003c/em> fans. The futile singing lesson is the format of musical theater itself.\u003c/p>\n\u003cp>Who wanted a \u003cem>Back to the Future\u003c/em> musical? That was my first question, and the only answer I could surmise was: someone who wants to milk a beloved franchise for even more money. Once the curtain rose, and I watched this would-be 88 mph production grind to a halt over and over with introspective singing, I had several other questions, too. \u003c/p>\n\u003cfigure id=\"attachment_13971986\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Luke Antony Neville (Principal Strickland) and Lucas Hallauer (Marty McFly) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Primarily, why would any Broadway producer believe \u003cem>Back to the Future\u003c/em> fans will like musical theater? The show knows its audience is a bunch of Gen X nerds; it serves up Pac-Man and \u003cem>Frankenstein\u003c/em> references, a \u003cem>Star Trek\u003c/em> joke and a \u003cem>Star Wars\u003c/em> sight gag. These are not people planning their summer vacations around Patti LuPone’s performances. \u003c/p>\n\u003cp>But surely, you say, there must be some crossover fanbase. And I would say: yes! That person is me! I was the prime age of 10 when \u003cem>Back to the Future\u003c/em> came out, I watched it approximately 137 times on a grainy VHS dub, and also grew up to love musical theater. I even adore a few other trashy musical adaptations from movies, like \u003cem>Mean Girls: The Musical\u003c/em> and \u003cem>Legally Blonde: The Musical\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13971920']But \u003cem>Mean Girls: The Musical\u003c/em> and \u003cem>Legally Blonde: The Musical\u003c/em> are based on camp classics, and thus have a built-in audience of musical theater fans. \u003cem>Back to the Future: The Musical\u003c/em> spends too much time on navel-gazing ballads and character development for anyone, but especially for those from the \u003ca href=\"https://www.youtube.com/watch?v=hHZctSnNrsw\">Van Halen generation\u003c/a>. We already know these characters; I counted at least two people on opening night wearing Marty McFly-inspired puffy orange vests. Just be funny!\u003c/p>\n\u003cp>Instead, we get George McFly, looking through binoculars in a tree, somberly singing that “\u003ca href=\"https://www.allmusicals.com/lyrics/backtothefuture/mymyopia.htm\">My myopia is my utopia\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13971987\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Lucas Hallauer (Marty McFly) and Kiara Lee (Jennifer Parker) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a problem of earnestness, and it starts to make sense when you learn that the musical was co-written by Glenn Ballard, who shot to fame as the co-writer of Alanis Morissette’s album \u003cem>Jagged Little Pill\u003c/em>. If the producers were looking for a good fit, they really should have gotten Weird Al.\u003c/p>\n\u003cp>“OK, fine,” you say. “Surely there must have been \u003cem>some\u003c/em> good things about it.”\u003c/p>\n\u003cp>You’re right. As Marty McFly, Lucas Hallauer mimics Michael J. Fox’s mannerisms and speaking style with astounding accuracy; he moves, scoots and squeaks just like Fox. “Gotta Start Somewhere,” sung by Cartreze Tucker as the diner custodian and future Hill Valley mayor Goldie Wilson, steals the show. And the special effects with the DeLorean, naturally, are dazzling; at one point I thought it would fly off of the stage and over the seats. \u003c/p>\n\u003cfigure id=\"attachment_13971983\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Don Stephenson (Doc Brown) and Lucas Hallauer (Marty McFly) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plus, the second half picks up velocity with all the climactic plot turns you know and love. A knockout punch. A dance floor kiss. A lightning strike on the clock tower, with terrific technical effects. If you watched the movie on repeat, as I did, it’s hard not to be thrilled when these key moments take place, among an audience finally coming alive with rapturous applause.\u003c/p>\n\u003cp>Is it worth the pain of sitting through the rest? This cow says: \u003cem>moooooooooooo\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.broadwaysf.com/events/back-to-the-future/\">Back to the Future: The Musical\u003c/a>’ runs through Sunday, March 9, at the Orpheum Theatre in San Francisco. Details here.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Travel back in time, and you’ll find an \u003ca href=\"https://www.psychologytoday.com/us/blog/divorce-busting/202002/the-singing-cow\">axiom of practical wisdom\u003c/a>: “Never teach a cow to sing. It wastes time, and annoys the cow.”\u003c/p>\n\u003cp>At \u003cem>Back to the Future: The Musical\u003c/em>, which opened Thursday night in San Francisco, the cow is the audience of \u003cem>Back to the Future\u003c/em> fans. The futile singing lesson is the format of musical theater itself.\u003c/p>\n\u003cp>Who wanted a \u003cem>Back to the Future\u003c/em> musical? That was my first question, and the only answer I could surmise was: someone who wants to milk a beloved franchise for even more money. Once the curtain rose, and I watched this would-be 88 mph production grind to a halt over and over with introspective singing, I had several other questions, too. \u003c/p>\n\u003cfigure id=\"attachment_13971986\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/17-BTTF-Tour_Luke-Antony-Neville_Lucas-Hallauer_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Luke Antony Neville (Principal Strickland) and Lucas Hallauer (Marty McFly) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Primarily, why would any Broadway producer believe \u003cem>Back to the Future\u003c/em> fans will like musical theater? The show knows its audience is a bunch of Gen X nerds; it serves up Pac-Man and \u003cem>Frankenstein\u003c/em> references, a \u003cem>Star Trek\u003c/em> joke and a \u003cem>Star Wars\u003c/em> sight gag. These are not people planning their summer vacations around Patti LuPone’s performances. \u003c/p>\n\u003cp>But surely, you say, there must be some crossover fanbase. And I would say: yes! That person is me! I was the prime age of 10 when \u003cem>Back to the Future\u003c/em> came out, I watched it approximately 137 times on a grainy VHS dub, and also grew up to love musical theater. I even adore a few other trashy musical adaptations from movies, like \u003cem>Mean Girls: The Musical\u003c/em> and \u003cem>Legally Blonde: The Musical\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>Mean Girls: The Musical\u003c/em> and \u003cem>Legally Blonde: The Musical\u003c/em> are based on camp classics, and thus have a built-in audience of musical theater fans. \u003cem>Back to the Future: The Musical\u003c/em> spends too much time on navel-gazing ballads and character development for anyone, but especially for those from the \u003ca href=\"https://www.youtube.com/watch?v=hHZctSnNrsw\">Van Halen generation\u003c/a>. We already know these characters; I counted at least two people on opening night wearing Marty McFly-inspired puffy orange vests. Just be funny!\u003c/p>\n\u003cp>Instead, we get George McFly, looking through binoculars in a tree, somberly singing that “\u003ca href=\"https://www.allmusicals.com/lyrics/backtothefuture/mymyopia.htm\">My myopia is my utopia\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13971987\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/22-BTTF-Tour_Lucas-Hallauer-and-Kiara-Lee_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Lucas Hallauer (Marty McFly) and Kiara Lee (Jennifer Parker) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a problem of earnestness, and it starts to make sense when you learn that the musical was co-written by Glenn Ballard, who shot to fame as the co-writer of Alanis Morissette’s album \u003cem>Jagged Little Pill\u003c/em>. If the producers were looking for a good fit, they really should have gotten Weird Al.\u003c/p>\n\u003cp>“OK, fine,” you say. “Surely there must have been \u003cem>some\u003c/em> good things about it.”\u003c/p>\n\u003cp>You’re right. As Marty McFly, Lucas Hallauer mimics Michael J. Fox’s mannerisms and speaking style with astounding accuracy; he moves, scoots and squeaks just like Fox. “Gotta Start Somewhere,” sung by Cartreze Tucker as the diner custodian and future Hill Valley mayor Goldie Wilson, steals the show. And the special effects with the DeLorean, naturally, are dazzling; at one point I thought it would fly off of the stage and over the seats. \u003c/p>\n\u003cfigure id=\"attachment_13971983\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/2-BTTF-Tour_Don-Stephenson-and-Lucas-Hallauer_Photo-by-McLeod9-Creative-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Don Stephenson (Doc Brown) and Lucas Hallauer (Marty McFly) in ‘Back to the Future: The Muscial.’ \u003ccite>(McLeod9 Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plus, the second half picks up velocity with all the climactic plot turns you know and love. A knockout punch. A dance floor kiss. A lightning strike on the clock tower, with terrific technical effects. If you watched the movie on repeat, as I did, it’s hard not to be thrilled when these key moments take place, among an audience finally coming alive with rapturous applause.\u003c/p>\n\u003cp>Is it worth the pain of sitting through the rest? This cow says: \u003cem>moooooooooooo\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.broadwaysf.com/events/back-to-the-future/\">Back to the Future: The Musical\u003c/a>’ runs through Sunday, March 9, at the Orpheum Theatre in San Francisco. Details here.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Walnut Creek, ‘Froggy’ Finds Humanity Behind the Video Game Screen",
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"content": "\u003cp>Video games have evolved over the years to become incredibly lifelike, with different game genres all offering an escape from reality. But what if, just like a video game, we could simply reset after a fatal mistake? \u003c/p>\n\u003cp>Center Repertory Company’s world premiere production of Froggy teases out a heavy dose of humanity from inside a bootleg video game. With that humanity comes hurt, as the title character’s quixotic, motion-capture quest gets underway.\u003c/p>\n\u003cp>Inside playwright Jennifer Haley and director Matt M. Morrow’s world is Froggy, from Texas, at different levels of her life. The young tweener Froggy (Maeve Coyne) enjoys scarfing Cheetos while huffing and puffing her every feeling. \u003c/p>\n\u003cfigure id=\"attachment_13971971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13971971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamella Cross (Froggy) in the world premiere of ‘Froggy’ at Center REP. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mature, pensive Froggy (Jamella Cross), on the other hand, finds herself locked inside a tragedy. Her boyfriend is actor Michael (Adam KuveNiemann), a self-consumed B-film performer tasked with delivering vapid lines. When Michael goes missing, Froggy’s obsession with finding him leads her through the inner workings of an underground video game, where animals and other characters are ready with hints to be unlocked. The right move means a direct progression to the end credits.\u003c/p>\n\u003cp>The play’s rather tight runtime, 80 minutes, is perfect for a show built on its aesthetic richness. Aside from a few clunky moments, director Matthew M. Morrow’s staging is fluid and direct. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The star of the show is the visually stunning digital work. Each jagged edge of Sibyl Wickersheimer’s scenic design provides an opportunity for Jared Mezzocchi’s creative technology to soar. Whether in the opening credits or the various visuals of critical settings, Mezzocchi and lighting designer Spense Matubang have built a playground of motion-capture heaven. Becky Bodurtha’s costumes, ranging from subtle to playful, further enhance the story.\u003c/p>\n\u003cfigure id=\"attachment_13971970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13971970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Adam KuveNiemann (Tiger) in the world premiere of ‘Froggy’ at Center REP. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Froggy, Cross has a terrific knack for getting lost in the artificial world without swallowing every ounce of energy built around her. Constantly scanning and plotting, she evinces a keen awareness of the stakes that Froggy faces, built from both past memories and present realities.\u003c/p>\n\u003cp>Strengthening Froggy’s resolve is her having lost her brother (Jed Parsario), along with labored interactions with her dad (Michael Ray Wisely). The enhancement of Emily Newsome as the omnipresent narrator breathing life into the story works divinely.\u003c/p>\n\u003cp>The play does a terrific job with noir-ish storytelling elements both digitally newfangled and classic. An upstage foley table used by rotating cast members adds savory texture — the clip-clop of cowboy steps, the crunch of boots on dirt. GoPro camera feeds provide even more to stare at, without seeming fancy or superfluous; each technical decision feels deliberate.\u003c/p>\n\u003cfigure id=\"attachment_13971972\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13971972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maeve Coyne (Little Froggy) and Michael Ray Wisely (Dad) in the world premiere of ‘Froggy’ at Center REP. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play’s style lends itself to organic opportunities for honest, expressive performances. Wisely’s portrayal of the dad’s inner torture bubbles brutally to the surface as he reckons with his son’s passing. Nancy Carlin’s various pop-up appearances are their own Easter eggs, whether delivering heartbreaking truths or simply providing a chuckle as a Denny’s waitress. Parsario shows skill and range in scenes between he and Coyne, tenderly setting up a crushing payoff.\u003c/p>\n\u003cp>It’s those tender moments that are filled with the most humanity inside a heavy and unsettled world. By the time the play’s denouement arrives, it feels as if there were no other logical way to end it; Haley’s writing leads the story to a finality that doesn’t feel satisfying, but certainly appropriate, and definitely heartbreaking.\u003c/p>\n\u003cp>Why do we as humans hang onto toxicity that burdens us, when letting go would preserve our sanity? Maybe it’s because when we let go of others, in a sense, we let go of ourselves. Video games, often encompassing more details than a major Hollywood blockbuster, provide a chance to shape another’s ability to redeem themselves — whether it’s a character’s redemption or our own.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Froggy’ runs through March 2 at the Lesher Center in Walnut Creek. \u003ca href=\"https://www.centerrep.org/what-s-on/24-25-season/froggy\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Video games have evolved over the years to become incredibly lifelike, with different game genres all offering an escape from reality. But what if, just like a video game, we could simply reset after a fatal mistake? \u003c/p>\n\u003cp>Center Repertory Company’s world premiere production of Froggy teases out a heavy dose of humanity from inside a bootleg video game. With that humanity comes hurt, as the title character’s quixotic, motion-capture quest gets underway.\u003c/p>\n\u003cp>Inside playwright Jennifer Haley and director Matt M. Morrow’s world is Froggy, from Texas, at different levels of her life. The young tweener Froggy (Maeve Coyne) enjoys scarfing Cheetos while huffing and puffing her every feeling. \u003c/p>\n\u003cfigure id=\"attachment_13971971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13971971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_164-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamella Cross (Froggy) in the world premiere of ‘Froggy’ at Center REP. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mature, pensive Froggy (Jamella Cross), on the other hand, finds herself locked inside a tragedy. Her boyfriend is actor Michael (Adam KuveNiemann), a self-consumed B-film performer tasked with delivering vapid lines. When Michael goes missing, Froggy’s obsession with finding him leads her through the inner workings of an underground video game, where animals and other characters are ready with hints to be unlocked. The right move means a direct progression to the end credits.\u003c/p>\n\u003cp>The play’s rather tight runtime, 80 minutes, is perfect for a show built on its aesthetic richness. Aside from a few clunky moments, director Matthew M. Morrow’s staging is fluid and direct. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The star of the show is the visually stunning digital work. Each jagged edge of Sibyl Wickersheimer’s scenic design provides an opportunity for Jared Mezzocchi’s creative technology to soar. Whether in the opening credits or the various visuals of critical settings, Mezzocchi and lighting designer Spense Matubang have built a playground of motion-capture heaven. Becky Bodurtha’s costumes, ranging from subtle to playful, further enhance the story.\u003c/p>\n\u003cfigure id=\"attachment_13971970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13971970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_041-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Adam KuveNiemann (Tiger) in the world premiere of ‘Froggy’ at Center REP. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Froggy, Cross has a terrific knack for getting lost in the artificial world without swallowing every ounce of energy built around her. Constantly scanning and plotting, she evinces a keen awareness of the stakes that Froggy faces, built from both past memories and present realities.\u003c/p>\n\u003cp>Strengthening Froggy’s resolve is her having lost her brother (Jed Parsario), along with labored interactions with her dad (Michael Ray Wisely). The enhancement of Emily Newsome as the omnipresent narrator breathing life into the story works divinely.\u003c/p>\n\u003cp>The play does a terrific job with noir-ish storytelling elements both digitally newfangled and classic. An upstage foley table used by rotating cast members adds savory texture — the clip-clop of cowboy steps, the crunch of boots on dirt. GoPro camera feeds provide even more to stare at, without seeming fancy or superfluous; each technical decision feels deliberate.\u003c/p>\n\u003cfigure id=\"attachment_13971972\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13971972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/FGY_014-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maeve Coyne (Little Froggy) and Michael Ray Wisely (Dad) in the world premiere of ‘Froggy’ at Center REP. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play’s style lends itself to organic opportunities for honest, expressive performances. Wisely’s portrayal of the dad’s inner torture bubbles brutally to the surface as he reckons with his son’s passing. Nancy Carlin’s various pop-up appearances are their own Easter eggs, whether delivering heartbreaking truths or simply providing a chuckle as a Denny’s waitress. Parsario shows skill and range in scenes between he and Coyne, tenderly setting up a crushing payoff.\u003c/p>\n\u003cp>It’s those tender moments that are filled with the most humanity inside a heavy and unsettled world. By the time the play’s denouement arrives, it feels as if there were no other logical way to end it; Haley’s writing leads the story to a finality that doesn’t feel satisfying, but certainly appropriate, and definitely heartbreaking.\u003c/p>\n\u003cp>Why do we as humans hang onto toxicity that burdens us, when letting go would preserve our sanity? Maybe it’s because when we let go of others, in a sense, we let go of ourselves. Video games, often encompassing more details than a major Hollywood blockbuster, provide a chance to shape another’s ability to redeem themselves — whether it’s a character’s redemption or our own.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Froggy’ runs through March 2 at the Lesher Center in Walnut Creek. \u003ca href=\"https://www.centerrep.org/what-s-on/24-25-season/froggy\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You can’t keep good kids down.\u003c/p>\n\u003cp>After having their fall play suddenly canceled due to subject matter, and faced with continued monitoring by the administration, the students in Santa Rosa High School’s ArtQuest theater program refused to back away.\u003c/p>\n\u003cp>Instead, they fought back the best way they know how: by co-writing a pointed, smart and hilarious one-act musical called \u003cem>[REDACTED]\u003c/em>, which satirized the school district and the impulse to censor content deemed “unsuitable.”\u003c/p>\n\u003cp>And you know what? Over the weekend, \u003cem>[REDACTED]\u003c/em> won the gold medal at the \u003ca href=\"https://www.lenaea.org/\">Lenaea Festival\u003c/a>, a statewide theater competition of over 70 high schools. Santa Rosa also \u003ca href=\"https://www.instagram.com/p/DF5wn4-ypqb/\">won 12 other awards\u003c/a> at the festival, including the Spirit of Lenaea award, one of the festival’s very top honors.\u003c/p>\n\u003cfigure id=\"attachment_13971926\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater students performing ‘[REDACTED]’ at the Lenaea Festival in Folsom. \u003ccite>(Brent Lindsay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve had a front-row seat to this entire episode, since my daughter is friends with some of the young actors in the theater program. And I’ve watched as they’ve fought against censorship and clawed back their agency, again and again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jereme Anglin, who teaches theater at Santa Rosa, said the awards ceremony “pretty much brought everyone to tears.”\u003c/p>\n\u003cp>“We all got pretty emotional with it,” Anglin said. To win so many awards, up against so many other high schools, “it just felt like our struggle had been recognized.”\u003c/p>\n\u003cp>It’s quite a curtain call for a long, painful episode.\u003c/p>\n\u003cfigure id=\"attachment_13971924\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971924\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater student Dean Jahnsen performs as ‘Mr. Thumb’ in a one-act musical cowritten by students called ‘[REDACTED].’ \u003ccite>(Laurel Merrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last November, after rehearsing for four months, the Santa Rosa students opened their fall play, \u003cem>Dog Sees God: Confessions of a Teenage Blockhead\u003c/em> by Bert V. Royal. In its imagining of the characters from \u003cem>Peanuts\u003c/em> grown up and in high school, Linus is a stoner. Lucy is in a juvenile institution. Pigpen is homophobic, which is a problem, because Charlie Brown is experimenting with his sexuality.\u003c/p>\n\u003cp>Your usual high-school stuff, in other words.\u003c/p>\n\u003cp>After opening night, citing “complaints” — without elaborating — the school district suddenly canceled the play’s remaining performances. Undeterred, students Dean Jahnsen and Leila Paine mobilized schoolmates to get on the phone to the local paper, \u003cem>The Press Democrat\u003c/em>. They also contacted the Mercury Theatre in nearby Petaluma to check about availability.\u003c/p>\n\u003cp>The result? \u003ca href=\"https://www.pressdemocrat.com/article/news/school-play-canceled-obscenity-complaints-censorship-santa-rosa/\">Days\u003c/a> \u003ca href=\"https://www.pressdemocrat.com/article/news/canceled-santa-rosa-high-school-play/\">of\u003c/a> \u003ca href=\"https://www.sfchronicle.com/entertainment/article/santa-rosa-school-play-19933155.php\">media coverage\u003c/a>, hundreds of social media comments lambasting school officials’ priorities and two sold-out performances of \u003cem>Dog Sees God\u003c/em> at the Mercury Theatre that raised over $3,500 for their theater program.\u003c/p>\n\u003cfigure id=\"attachment_13971930\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971930\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod.jpg\" alt=\"\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call by Santa Rosa High School ArtsQuest theater students for ‘Dog Sees God: Confessions of a Teenage Blockhead’ at the Mercury Theatre in Petaluma, Nov. 16, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The district \u003ca href=\"https://www.pressdemocrat.com/article/news/school-play-canceled-obscenity-complaints-censorship-santa-rosa/\">reversed course\u003c/a>, formally apologized, and said the play could be produced on campus. But it also asked to proofread scripts of future productions, and instituted an age restriction for certain shows with “adult themes.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13970807/sara-bareilles-awards-national-high-school-musical-theatre-eureka\">Speaking with KQED\u003c/a>, the singer and Broadway composer Sara Bareilles (\u003cem>Waitress, The Interestings\u003c/em>) said the censorship at Santa Rosa High School “makes me so angry,” calling it a misuse of the district’s energy.\u003c/p>\n\u003cp>[aside postID='arts_13971959']“We think that by removing stories about ‘problematic’ subject matter, it removes those experiences from the world. The world is not getting less complicated because we talk about these subjects less; people are given less tools with which to cope with those subjects. And that is what makes me so sad, that these kids have put in all of this effort,” Bareilles said. \u003c/p>\n\u003cp>The district also installed a new principal at the high school, who last month \u003ca href=\"https://www.pressdemocrat.com/article/news/santa-rosa-high-theater-censorship/\">raised concern over the content\u003c/a> of three student monologues that were to be performed at the Lenaea Festival, and asked that the monologues be approved by the students’ parents.\u003c/p>\n\u003cp>If that sounds a little bit like “Mommies Against the Arts,” well, that’s what the students thought, too.\u003c/p>\n\u003cfigure id=\"attachment_13971927\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971927\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Ward performs as ‘Killian Keller’ in a one-act musical cowritten by students called ‘[REDACTED].’ \u003ccite>(Laurel Merrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>[REDACTED]\u003c/em>, a collaboration between the students and Brent Lindsay of the local theater company \u003ca href=\"https://theimaginists.org/\">the Imaginists\u003c/a>, a group called Mommies Against the Arts intervenes at a local school. They deride the librarian as “too woke,” celebrate that “indecent art is dying fast” after reprimanding “Mr. A,” and chant “Protecting kiddies is our duty! / We cancel anything that smells a little fruity!”\u003c/p>\n\u003cp>There are references to canceling plays, burning books and the school board having nothing better to do. The Mommies parade about, defending district employees, “particularly those who make over $200,000 a year.” One discovers a student script and screams, “You’ve been writing this? Without my approval?! \u003cem>Burn these words\u003c/em>!!!”\u003c/p>\n\u003cp>Anglin invited the school board, district officials and the administration to see \u003cem>[REDACTED]\u003c/em>. Not many came, he said. One woman from the district left partway through. The principal “didn’t really have much of a response to it.”\u003c/p>\n\u003cfigure id=\"attachment_13971925\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971925\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater students celebrate their win at the Lenaea Festival in Folsom. \u003ccite>(Brent Lindsay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The judges at Lenaea, however, certainly did. In \u003ca href=\"https://www.youtube.com/live/RRu699S92lk?feature=shared&t=6485\">awarding the students the Spirit of Lenaea Award\u003c/a>, Board director Cheena Moslen was emphatic.\u003c/p>\n\u003cp>“This group refused to be silenced. They mobilized their community, pushed back against censorship driven by fear, and ultimately staged their production, selling out performances. But that hurdle seems to be the beginning of a larger issue of silencing and oppression,” Moslen said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My experience with this school reminded me that we are not just performers — we are powerful, and our voices matter.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t keep good kids down.\u003c/p>\n\u003cp>After having their fall play suddenly canceled due to subject matter, and faced with continued monitoring by the administration, the students in Santa Rosa High School’s ArtQuest theater program refused to back away.\u003c/p>\n\u003cp>Instead, they fought back the best way they know how: by co-writing a pointed, smart and hilarious one-act musical called \u003cem>[REDACTED]\u003c/em>, which satirized the school district and the impulse to censor content deemed “unsuitable.”\u003c/p>\n\u003cp>And you know what? Over the weekend, \u003cem>[REDACTED]\u003c/em> won the gold medal at the \u003ca href=\"https://www.lenaea.org/\">Lenaea Festival\u003c/a>, a statewide theater competition of over 70 high schools. Santa Rosa also \u003ca href=\"https://www.instagram.com/p/DF5wn4-ypqb/\">won 12 other awards\u003c/a> at the festival, including the Spirit of Lenaea award, one of the festival’s very top honors.\u003c/p>\n\u003cfigure id=\"attachment_13971926\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater students performing ‘[REDACTED]’ at the Lenaea Festival in Folsom. \u003ccite>(Brent Lindsay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve had a front-row seat to this entire episode, since my daughter is friends with some of the young actors in the theater program. And I’ve watched as they’ve fought against censorship and clawed back their agency, again and again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jereme Anglin, who teaches theater at Santa Rosa, said the awards ceremony “pretty much brought everyone to tears.”\u003c/p>\n\u003cp>“We all got pretty emotional with it,” Anglin said. To win so many awards, up against so many other high schools, “it just felt like our struggle had been recognized.”\u003c/p>\n\u003cp>It’s quite a curtain call for a long, painful episode.\u003c/p>\n\u003cfigure id=\"attachment_13971924\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971924\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater student Dean Jahnsen performs as ‘Mr. Thumb’ in a one-act musical cowritten by students called ‘[REDACTED].’ \u003ccite>(Laurel Merrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last November, after rehearsing for four months, the Santa Rosa students opened their fall play, \u003cem>Dog Sees God: Confessions of a Teenage Blockhead\u003c/em> by Bert V. Royal. In its imagining of the characters from \u003cem>Peanuts\u003c/em> grown up and in high school, Linus is a stoner. Lucy is in a juvenile institution. Pigpen is homophobic, which is a problem, because Charlie Brown is experimenting with his sexuality.\u003c/p>\n\u003cp>Your usual high-school stuff, in other words.\u003c/p>\n\u003cp>After opening night, citing “complaints” — without elaborating — the school district suddenly canceled the play’s remaining performances. Undeterred, students Dean Jahnsen and Leila Paine mobilized schoolmates to get on the phone to the local paper, \u003cem>The Press Democrat\u003c/em>. They also contacted the Mercury Theatre in nearby Petaluma to check about availability.\u003c/p>\n\u003cp>The result? \u003ca href=\"https://www.pressdemocrat.com/article/news/school-play-canceled-obscenity-complaints-censorship-santa-rosa/\">Days\u003c/a> \u003ca href=\"https://www.pressdemocrat.com/article/news/canceled-santa-rosa-high-school-play/\">of\u003c/a> \u003ca href=\"https://www.sfchronicle.com/entertainment/article/santa-rosa-school-play-19933155.php\">media coverage\u003c/a>, hundreds of social media comments lambasting school officials’ priorities and two sold-out performances of \u003cem>Dog Sees God\u003c/em> at the Mercury Theatre that raised over $3,500 for their theater program.\u003c/p>\n\u003cfigure id=\"attachment_13971930\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971930\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod.jpg\" alt=\"\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call by Santa Rosa High School ArtsQuest theater students for ‘Dog Sees God: Confessions of a Teenage Blockhead’ at the Mercury Theatre in Petaluma, Nov. 16, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The district \u003ca href=\"https://www.pressdemocrat.com/article/news/school-play-canceled-obscenity-complaints-censorship-santa-rosa/\">reversed course\u003c/a>, formally apologized, and said the play could be produced on campus. But it also asked to proofread scripts of future productions, and instituted an age restriction for certain shows with “adult themes.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13970807/sara-bareilles-awards-national-high-school-musical-theatre-eureka\">Speaking with KQED\u003c/a>, the singer and Broadway composer Sara Bareilles (\u003cem>Waitress, The Interestings\u003c/em>) said the censorship at Santa Rosa High School “makes me so angry,” calling it a misuse of the district’s energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We think that by removing stories about ‘problematic’ subject matter, it removes those experiences from the world. The world is not getting less complicated because we talk about these subjects less; people are given less tools with which to cope with those subjects. And that is what makes me so sad, that these kids have put in all of this effort,” Bareilles said. \u003c/p>\n\u003cp>The district also installed a new principal at the high school, who last month \u003ca href=\"https://www.pressdemocrat.com/article/news/santa-rosa-high-theater-censorship/\">raised concern over the content\u003c/a> of three student monologues that were to be performed at the Lenaea Festival, and asked that the monologues be approved by the students’ parents.\u003c/p>\n\u003cp>If that sounds a little bit like “Mommies Against the Arts,” well, that’s what the students thought, too.\u003c/p>\n\u003cfigure id=\"attachment_13971927\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971927\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Ward performs as ‘Killian Keller’ in a one-act musical cowritten by students called ‘[REDACTED].’ \u003ccite>(Laurel Merrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>[REDACTED]\u003c/em>, a collaboration between the students and Brent Lindsay of the local theater company \u003ca href=\"https://theimaginists.org/\">the Imaginists\u003c/a>, a group called Mommies Against the Arts intervenes at a local school. They deride the librarian as “too woke,” celebrate that “indecent art is dying fast” after reprimanding “Mr. A,” and chant “Protecting kiddies is our duty! / We cancel anything that smells a little fruity!”\u003c/p>\n\u003cp>There are references to canceling plays, burning books and the school board having nothing better to do. The Mommies parade about, defending district employees, “particularly those who make over $200,000 a year.” One discovers a student script and screams, “You’ve been writing this? Without my approval?! \u003cem>Burn these words\u003c/em>!!!”\u003c/p>\n\u003cp>Anglin invited the school board, district officials and the administration to see \u003cem>[REDACTED]\u003c/em>. Not many came, he said. One woman from the district left partway through. The principal “didn’t really have much of a response to it.”\u003c/p>\n\u003cfigure id=\"attachment_13971925\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971925\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater students celebrate their win at the Lenaea Festival in Folsom. \u003ccite>(Brent Lindsay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The judges at Lenaea, however, certainly did. In \u003ca href=\"https://www.youtube.com/live/RRu699S92lk?feature=shared&t=6485\">awarding the students the Spirit of Lenaea Award\u003c/a>, Board director Cheena Moslen was emphatic.\u003c/p>\n\u003cp>“This group refused to be silenced. They mobilized their community, pushed back against censorship driven by fear, and ultimately staged their production, selling out performances. But that hurdle seems to be the beginning of a larger issue of silencing and oppression,” Moslen said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My experience with this school reminded me that we are not just performers — we are powerful, and our voices matter.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Opera Connects Immigrant Experiences from the 1940s to the Present",
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"content": "\u003cp>Philip Kan Gotanda spent more than four decades as a filmmaker and playwright before he decided to try storytelling in a new format: opera. Gotanda, whose work focuses primarily on the Japanese American experience and World War II, was feeling creatively blocked; he was looking for a new approach to his work. With the help of a composer (Max Giteck Duykers) and a director (Melissa Weaver), Gotanda took on the role of librettist for his first experimental opera, \u003ca href=\"https://secure-tickets.berkeley.edu/26079/26080\">\u003cem>Both Eyes Open\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>[aside postID='news_12025052']The opera follows the stories of Jinzo Matsumoto, a fictional Japanese American farmer from Stockton, and his wife, Catherine, as they endure incarceration and the loss of their farmland. An impressionistic, experimental production, \u003cem>Both Eyes Open\u003c/em> uses projections, interactive video elements and a unique instrument called the Marimba Lumina to set its scenes. \u003c/p>\n\u003cp>Creating the work was a collaborative effort of herculean scale: it took Gotanda and his colleagues a full decade to complete \u003ci>Both Eyes Open\u003c/i>. It debuted in 2022 at the Presidio Theatre in San Francisco and plays for two days only this weekend at UC Berkeley’s Zellerbach Playhouse. \u003c/p>\n\u003cfigure id=\"attachment_13971812\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000.jpeg\" alt=\"woman and man in old fashioned clothes hold hands on stage\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13971812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The characters of Catherine and Jinzo Matsumoto in ‘Both Eyes Open.’ \u003ccite>(Terry Lorant Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The idea was that the story would … be relevant to the times,” says Gotanda. “It creates a through line, showing the reasons behind the original incarceration are very much related to all the anti-immigrant, anti-Asian hatred that’s going on now.” \u003c/p>\n\u003cp>Hatred, says Gotanda, is part of the soil in \u003cem>Both Eyes Open\u003c/em>, just like it was back in the early 1900s for other immigrants. He points to \u003ca href=\"https://en.wikipedia.org/wiki/George_Shima\">George Shima\u003c/a> as an example, the real-life Japanese American immigrant businessman whose success growing potatoes in the drained swampland of the San Joaquin Delta was cut short by government-sanctioned racism. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The through line of racist lawmaking is clear. For Shima, it was the California Alien Land Law of 1913 that prevented him from owning land, and the Immigration Act of 1924, which excluded immigration from Asia and cut off his supply of workers. For the opera’s Jinzo and Catherine Matsumoto, it’s President Roosevelt’s Executive Order 9066, which resulted in Japanese American incarceration and the loss of their land.\u003c/p>\n\u003cfigure id=\"attachment_13971813\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000.jpeg\" alt=\"view of stage with musicians at left, man and woman center and man dressed as monk on right, american flag-colored fan image behind\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13971813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Both Eyes Open’ at the Presidio Theatre in 2022. \u003ccite>(Terry Lorant Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For immigrants today, it’s President Trump’s \u003ca href=\"https://www.kqed.org/news/12025052/we-really-need-to-fight-japanese-americans-who-remember-internment-vow-to-resist-trump\">vow\u003c/a> to invoke the Alien Enemies Act of 1798, his \u003ca href=\"https://www.kqed.org/news/12024776/laken-riley-act-raises-alarms-from-bay-area-civil-rights-attorneys\">signing\u003c/a> of the Laken Riley Act, and his outspoken \u003ca href=\"https://www.kqed.org/news/12026443/trumps-shock-and-awe-immigration-orders-are-creating-fear-experts-say-thats-the-point\">desire to end birthright citizenship\u003c/a>. \u003c/p>\n\u003cp>Before getting back to rehearsal, Gotanda tells me he credits \u003cem>Both Eyes Open\u003c/em> for keeping him alive artistically. “It has been [an experience] which is very much representative of art that emerges from the Bay Area,” he says. “[The opera] has a kind of political world that surrounds the artistic piece.”\u003c/p>\n\u003cp>That shared culture behind the scenes feeds straight into the production: “I want audiences to come away thinking, ‘This is a story about right now.’”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://secure-tickets.berkeley.edu/26079/26080\">Both Eyes Open\u003c/a>’ will be performed at UC Berkeley’s Zellerbach Playhouse on Feb. 15 and 16, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Philip Kan Gotanda spent more than four decades as a filmmaker and playwright before he decided to try storytelling in a new format: opera. Gotanda, whose work focuses primarily on the Japanese American experience and World War II, was feeling creatively blocked; he was looking for a new approach to his work. With the help of a composer (Max Giteck Duykers) and a director (Melissa Weaver), Gotanda took on the role of librettist for his first experimental opera, \u003ca href=\"https://secure-tickets.berkeley.edu/26079/26080\">\u003cem>Both Eyes Open\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The opera follows the stories of Jinzo Matsumoto, a fictional Japanese American farmer from Stockton, and his wife, Catherine, as they endure incarceration and the loss of their farmland. An impressionistic, experimental production, \u003cem>Both Eyes Open\u003c/em> uses projections, interactive video elements and a unique instrument called the Marimba Lumina to set its scenes. \u003c/p>\n\u003cp>Creating the work was a collaborative effort of herculean scale: it took Gotanda and his colleagues a full decade to complete \u003ci>Both Eyes Open\u003c/i>. It debuted in 2022 at the Presidio Theatre in San Francisco and plays for two days only this weekend at UC Berkeley’s Zellerbach Playhouse. \u003c/p>\n\u003cfigure id=\"attachment_13971812\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000.jpeg\" alt=\"woman and man in old fashioned clothes hold hands on stage\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13971812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen6_2000-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The characters of Catherine and Jinzo Matsumoto in ‘Both Eyes Open.’ \u003ccite>(Terry Lorant Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The idea was that the story would … be relevant to the times,” says Gotanda. “It creates a through line, showing the reasons behind the original incarceration are very much related to all the anti-immigrant, anti-Asian hatred that’s going on now.” \u003c/p>\n\u003cp>Hatred, says Gotanda, is part of the soil in \u003cem>Both Eyes Open\u003c/em>, just like it was back in the early 1900s for other immigrants. He points to \u003ca href=\"https://en.wikipedia.org/wiki/George_Shima\">George Shima\u003c/a> as an example, the real-life Japanese American immigrant businessman whose success growing potatoes in the drained swampland of the San Joaquin Delta was cut short by government-sanctioned racism. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The through line of racist lawmaking is clear. For Shima, it was the California Alien Land Law of 1913 that prevented him from owning land, and the Immigration Act of 1924, which excluded immigration from Asia and cut off his supply of workers. For the opera’s Jinzo and Catherine Matsumoto, it’s President Roosevelt’s Executive Order 9066, which resulted in Japanese American incarceration and the loss of their land.\u003c/p>\n\u003cfigure id=\"attachment_13971813\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000.jpeg\" alt=\"view of stage with musicians at left, man and woman center and man dressed as monk on right, american flag-colored fan image behind\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13971813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BothEyesOpen2_2000-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Both Eyes Open’ at the Presidio Theatre in 2022. \u003ccite>(Terry Lorant Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For immigrants today, it’s President Trump’s \u003ca href=\"https://www.kqed.org/news/12025052/we-really-need-to-fight-japanese-americans-who-remember-internment-vow-to-resist-trump\">vow\u003c/a> to invoke the Alien Enemies Act of 1798, his \u003ca href=\"https://www.kqed.org/news/12024776/laken-riley-act-raises-alarms-from-bay-area-civil-rights-attorneys\">signing\u003c/a> of the Laken Riley Act, and his outspoken \u003ca href=\"https://www.kqed.org/news/12026443/trumps-shock-and-awe-immigration-orders-are-creating-fear-experts-say-thats-the-point\">desire to end birthright citizenship\u003c/a>. \u003c/p>\n\u003cp>Before getting back to rehearsal, Gotanda tells me he credits \u003cem>Both Eyes Open\u003c/em> for keeping him alive artistically. “It has been [an experience] which is very much representative of art that emerges from the Bay Area,” he says. “[The opera] has a kind of political world that surrounds the artistic piece.”\u003c/p>\n\u003cp>That shared culture behind the scenes feeds straight into the production: “I want audiences to come away thinking, ‘This is a story about right now.’”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://secure-tickets.berkeley.edu/26079/26080\">Both Eyes Open\u003c/a>’ will be performed at UC Berkeley’s Zellerbach Playhouse on Feb. 15 and 16, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Opera’s New Season: ‘Dead Man Walking,’ ‘The Monkey King’ and More",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sf-opera\">San Francisco Opera\u003c/a> on Tuesday announced a dynamic 2025–26 season, the centerpiece of which is a highly anticipated new commission: \u003ci>The Monkey King\u003c/i>, an action-adventure opera by composer Huang Ruo and librettist Henry David Hwang.\u003c/p>\n\u003cp>Premiering Nov. 14, \u003ci>The Monkey King\u003c/i> is based on \u003ci>Journey to the West\u003c/i>, a 1592 Chinese literary classic that’s inspired countless films, animations and even a massively popular video game, \u003ci>Black Myth: Wukong\u003c/i>. The new work, which runs through Nov. 30, promises to push SF Opera to new technical heights, utilizing dance and puppetry to tell the story of the ruler of the monkey kingdom who faces off against gods, demons and his own ego in his quest for immortality.\u003c/p>\n\u003cfigure id=\"attachment_13971300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg\" alt=\"A digital sketch of colorful costumes inspired by traditional Chinese clothing. \" width=\"2000\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1536x994.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1920x1242.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Costume designs by Anita Yavich for Erlang and the gods in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Anita Yavich/Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another season highlight is the return of \u003ci>Dead Man Walking\u003c/i>, which premiered at SF Opera 25 years ago and has since become one of the most popular modern operas of this century. Coming to the War Memorial Opera House stage Sept. 14–28, the libretto by Terrence McNally tells the real-life story of Sister Helen Prejean as she undergoes a spiritual journey while ministering to a man facing the death penalty.\u003c/p>\n\u003cp>The season kicks off with Verdi’s \u003cem>Rigoletto\u003c/em>, running Sept. 5–27, with a cast that includes Mongolian baritone Amartuvshin Enkhbat in the title role alongside Adela Zaharia, Giovanni Sala, J’Nai Bridges, Peixin Chen and Aleksey Bogdanov.\u003c/p>\n\u003cp>From Oct. 25–Nov. 13, SF Opera will present a new production of Richard Wagner’s final work, \u003ci>Parsifal\u003c/i>, the story of a knight’s spiritual quest, which — like \u003ci>The Monkey King\u003c/i> — is heavily influenced by Buddhism. The opera is part of SF Opera Music Director Eun Sun Kim’s ongoing exploration of the 19th century German composer’s work, and will be directed by Matthew Ozawa. (Kim and SF Opera General Director Matthew Shilvock will appear live at KQED’s Mission District venue, The Commons, on Feb. 4 for a \u003ca href=\"https://www.kqed.org/event/4930\">conversation with \u003cem>Forum\u003c/em> host Mina Kim\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13971302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg\" alt=\"An opera set with fences and barbed wire that look like a prison. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Andrew Cioffi/Lyric Opera of Chicago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other season highlights include a June 2026 staging of Gioachino Rossini’s iconic 19th-century comedy \u003ci>The Barber of Seville\u003c/i> and Richard Strauss’ Greek mythology-fueled \u003ci>Elektra\u003c/i>. A special concert for Pride month is also slated for June.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This season, SF Opera will offer new Saturday matinee concerts; some of the season’s productions will also be livestreamed on select dates. SF Opera will also present its annual Opera in the Park, a free concert in Golden Gate Park’s Robin Williams Meadow, on Sept. 7, featuring the SF Opera Orchestra and soloists with Kim at the podium.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Opera’s 103rd season kicks off Sept. 5. \u003ca href=\"https://www.sfopera.com/\">A full schedule of events can be found here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sf-opera\">San Francisco Opera\u003c/a> on Tuesday announced a dynamic 2025–26 season, the centerpiece of which is a highly anticipated new commission: \u003ci>The Monkey King\u003c/i>, an action-adventure opera by composer Huang Ruo and librettist Henry David Hwang.\u003c/p>\n\u003cp>Premiering Nov. 14, \u003ci>The Monkey King\u003c/i> is based on \u003ci>Journey to the West\u003c/i>, a 1592 Chinese literary classic that’s inspired countless films, animations and even a massively popular video game, \u003ci>Black Myth: Wukong\u003c/i>. The new work, which runs through Nov. 30, promises to push SF Opera to new technical heights, utilizing dance and puppetry to tell the story of the ruler of the monkey kingdom who faces off against gods, demons and his own ego in his quest for immortality.\u003c/p>\n\u003cfigure id=\"attachment_13971300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg\" alt=\"A digital sketch of colorful costumes inspired by traditional Chinese clothing. \" width=\"2000\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1536x994.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/The-Gods-Erland-and-his-brothers-1920x1242.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Costume designs by Anita Yavich for Erlang and the gods in Huang Ruo and David Henry Hwang’s ‘The Monkey King.’ \u003ccite>(Anita Yavich/Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another season highlight is the return of \u003ci>Dead Man Walking\u003c/i>, which premiered at SF Opera 25 years ago and has since become one of the most popular modern operas of this century. Coming to the War Memorial Opera House stage Sept. 14–28, the libretto by Terrence McNally tells the real-life story of Sister Helen Prejean as she undergoes a spiritual journey while ministering to a man facing the death penalty.\u003c/p>\n\u003cp>The season kicks off with Verdi’s \u003cem>Rigoletto\u003c/em>, running Sept. 5–27, with a cast that includes Mongolian baritone Amartuvshin Enkhbat in the title role alongside Adela Zaharia, Giovanni Sala, J’Nai Bridges, Peixin Chen and Aleksey Bogdanov.\u003c/p>\n\u003cp>From Oct. 25–Nov. 13, SF Opera will present a new production of Richard Wagner’s final work, \u003ci>Parsifal\u003c/i>, the story of a knight’s spiritual quest, which — like \u003ci>The Monkey King\u003c/i> — is heavily influenced by Buddhism. The opera is part of SF Opera Music Director Eun Sun Kim’s ongoing exploration of the 19th century German composer’s work, and will be directed by Matthew Ozawa. (Kim and SF Opera General Director Matthew Shilvock will appear live at KQED’s Mission District venue, The Commons, on Feb. 4 for a \u003ca href=\"https://www.kqed.org/event/4930\">conversation with \u003cem>Forum\u003c/em> host Mina Kim\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13971302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg\" alt=\"An opera set with fences and barbed wire that look like a prison. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/DEAD-MAN-WALKING_Lyric-Opera-of-Chicago_c-Andrew-Cioffi-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Andrew Cioffi/Lyric Opera of Chicago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other season highlights include a June 2026 staging of Gioachino Rossini’s iconic 19th-century comedy \u003ci>The Barber of Seville\u003c/i> and Richard Strauss’ Greek mythology-fueled \u003ci>Elektra\u003c/i>. A special concert for Pride month is also slated for June.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This season, SF Opera will offer new Saturday matinee concerts; some of the season’s productions will also be livestreamed on select dates. SF Opera will also present its annual Opera in the Park, a free concert in Golden Gate Park’s Robin Williams Meadow, on Sept. 7, featuring the SF Opera Orchestra and soloists with Kim at the podium.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Opera’s 103rd season kicks off Sept. 5. \u003ca href=\"https://www.sfopera.com/\">A full schedule of events can be found here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Tenderloin Museum to Expand, Bucking Local Trends",
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"content": "\u003cp>In early 2024, the \u003ca href=\"https://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a>’s plans for the future were thrown into thrilling disarray. Executive Director Katie Conry was getting ready to expand from the ground floor into the basement of the Cadillac Hotel, where the museum currently occupies about 3,200 square feet at the corner of Leavenworth and Eddy. \u003c/p>\n\u003cp>Kathy Looper, longtime owner of the Cadillac and the museum’s board president, came over with the news. The childcare center next door had closed. Would Conry be interested in taking a look?\u003c/p>\n\u003cp>“You could see the light bulbs going off in all of our heads as we walked around the space,” Looper remembers. “Much better than a basement.”\u003c/p>\n\u003cp>Underneath an elegant glass ceiling, they surveyed what had once been the hotel’s formal dining room, built in 1907, and later became \u003ca href=\"https://www.sfheritage.org/news/landmark-tuesdays-the-cadillac-hotel/\">Newman’s Gym\u003c/a>, where boxers Muhammad Ali, Jack Dempsey, George Foreman and Sugar Ray Robinson all trained or competed. (The floor still shows the boxing ring’s outline.)\u003c/p>\n\u003cfigure id=\"attachment_13971229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg\" alt=\"large indoor space under glass ceiling\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The former childcare center was the Cadillac Hotel’s dining room, and later a boxing gym. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 6,850 square feet, it was so much more space than the museum had ever hoped to gain. And with that space, they could entertain some of their wildest dreams. The opportunity was too good to pass up. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An expansion project would be plenty of work for most museums, especially when so many other San Francisco cultural institutions are struggling with attendance and fundraising. But the Tenderloin Museum is now producing a play, building out an off-site theater venue \u003ci>and\u003c/i> launching a capital campaign that seeks to raise $4.2 million over the next three years. The plan is to open the expanded museum in early 2026. \u003c/p>\n\u003cp>All of this work aims to tell a different, more in-depth story about the Tenderloin — and those who have shaped it.\u003c/p>\n\u003cp>“For me, it’s all about enhancing people’s understanding of the community,” Looper says. “Instead of the Tenderloin being a negative thing, it could be a positive. We are \u003ci>literally\u003c/i> the best cut, the tenderloin of the city.”\u003c/p>\n\u003cfigure id=\"attachment_13971244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg\" alt=\"white woman in black poses at table in museum gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Executive Director Katie Conry at the Tenderloin Museum on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Room for a more nuanced history\u003c/h2>\n\u003cp>If Conry has learned one thing during her decade at the museum, it’s that there is so much more to the Tenderloin than the current displays can capture. The museum’s main gallery covers the neighborhood’s vibrant history as an entertainment zone, immigrant hub and center for numerous social movements. On the ceiling, a delightful three-dimensional light-up map shows the Tenderloin’s buildings and intersections. \u003c/p>\n\u003cp>But in the lobby, just one wall is available for contemporary art shows. Recent history is radically condensed. Space isn’t just an issue for displays, either; staff offices are essentially a closet, making it tricky to have private or sensitive conversations — or solicit donors.\u003c/p>\n\u003cp>With this expansion, the museum will more than triple in size. The permanent exhibition space will move into the old childcare center, to be replaced by a new neon art gallery, with pieces borrowed from Jim Rizzo’s \u003ca href=\"http://www.neonwks.com/\">Neon Works\u003c/a> collection. \u003c/p>\n\u003cfigure id=\"attachment_13971239\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg\" alt=\"framed photos and text on red patterned wallpaper\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13971239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A display in the current main gallery of the Tenderloin Museum. After the expansion, this area will become part of a neon gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two generous galleries behind the permanent exhibition will host contemporary art exhibitions and a long-term installation on South Asian immigrants in the hotel industry. There is also a kitchen, extra bathrooms, a future youth-focused library, and plenty of room to host private events (and hopefully bring in additional revenue). \u003c/p>\n\u003cp>[aside postID='arts_13970919,arts_13968003']On a tour through the emptied-out childcare center, which still boasts a diminutive door next to an adult-sized one, the word that kept coming out of my mouth was, “Wow.”\u003c/p>\n\u003cp>The museum hopes to be closed for only the loudest part of the construction process — just a month or two, this spring. And despite the challenges ahead, Conry is optimistic they can buck local trends, which see San Francisco museums closing either temporarily or permanently. “I think we’re a unique space that has a dedicated following,” she says. “We’re able to be a bit more nimble than the larger organizations.”\u003c/p>\n\u003cp>That said, she wants the museum to be even more financially stable. Enter, stage left, another income stream: \u003ca href=\"https://www.comptonscafeteriariot.com/\">an ambitious play\u003c/a> based on the indelible neighborhood story of the Compton’s Cafeteria riot.\u003c/p>\n\u003cfigure id=\"attachment_13971242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg\" alt=\"person looks at notebook of dialogue while holding chin\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves works with the cast of ‘Compton’s Cafeteria Riot’ during a rehearsal on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art in service of a larger goal\u003c/h2>\n\u003cp>Five blocks away from the museum, an energetic team of theater professionals is rehearsing lines, blocking fight choreography and turning 835 Larkin St. into a semi-functional 1960s diner. \u003c/p>\n\u003cp>[aside postID='arts_13835520,arts_11838357']The play, written by Collette LeGrande, Mark Nassar and Donna Personna, initially premiered at \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\">New Village Cafe in 2018\u003c/a> and sold out its two-month-plus run.\u003c/p>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> takes place on an August night in 1966, at a 24-hour diner on the corner of Turk and Taylor. There, fed-up trans women, drag queens and sex workers rebelled in what \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\">historian Susan Stryker\u003c/a> identifies as the “first known instance of collective militant queer resistance to police harassment in United States history.”\u003c/p>\n\u003cp>The play, drawn largely from LeGrande and Personna’s own experiences, collapses the distance between audience and performer, lived history and theatrical retelling. Action takes place throughout the diner as audience members sit elbow-to-elbow with actors, or get a plate of pancakes from them.\u003c/p>\n\u003cp>“This is by far the most ambitious thing I’ve ever done,” says director Ezra Reaves, who has a background in immersive theater. “Every element needs so much more time than a traditional play because we have to build it out in extreme detail.”\u003c/p>\n\u003cfigure id=\"attachment_13971235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg\" alt=\"people look at person speaking, holding hands in emphasis, in a table-filled space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves (center) and the cast of ‘Compton’s Cafeteria Riot’ during rehearsal in a Larkin Street storefront converted to look like a 1960s diner. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to drag, live singing, a violent confrontation and harrowing, real stories, \u003ci>Compton’s Cafeteria Riot\u003c/i> comes with the sights, smells and tastes of breakfast (for dinner). The venue’s ongoing transformation from empty concrete box to 1960s diner is remarkable. Set designer \u003ca href=\"https://www.instagram.com/neogirlneon/\">Roxy Rose\u003c/a> is working on a neon sign for the storefront, and helped source the furnishings — booths, a cash register, bar, stools, jukebox and cigarette machine — that give the space its authentic ambiance.\u003c/p>\n\u003cp>Reaves says they brought LeGrande and Personna to Amoeba Records to select songs from the time period. “They picked a lot of Lesley Gore, which I love, and we put in a lot of Dionne Warwick,” Reaves says. “So we’ve got plenty of divas in the show.”\u003c/p>\n\u003cp>It’s been a difficult seven-year journey to bring the play back to audiences, largely due to the pandemic and the team’s commitment to immersive theater, which led to a year of permitting delays. But the importance of the production kept everyone focused on the end goal. “We died on this hill,” Conry says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13971237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg\" alt=\"two people stand in front of jukebox looking to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaylyn Abergas (left) and Shane Zaldivar, members of the ‘Compton’s Cafeteria Riot’ cast, rehearse on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> is, Nassar points out proudly, a “trans-centric production.” Conry sees it as an investment in the neighborhood. Reaves echoes the sentiment.\u003c/p>\n\u003cp>“It’s been my mission to not just make a show for entertainment, but to create a community here,” they say. “To create a piece of art that will continue to bring more people into the fold, and ultimately be an engine of creativity and employment for trans people in the community.”\u003c/p>\n\u003cp>As national politicians turn trans rights into a wedge issue, Conry says, works of art like \u003ci>Compton’s Cafeteria Riot\u003c/i> can bridge divides with understanding and empathy. So much of what the museum does — whether through exhibitions, walking tours, or, now, live theater — is about correcting misconceptions drawn from dominant, damaging narratives.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s so many people who think they’ve never met a trans person, so they don’t know anything about their experience,” Conry says. “The arts really have the ability to change people’s hearts and minds. And when you see the play, you’re really there.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In early 2024, the \u003ca href=\"https://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a>’s plans for the future were thrown into thrilling disarray. Executive Director Katie Conry was getting ready to expand from the ground floor into the basement of the Cadillac Hotel, where the museum currently occupies about 3,200 square feet at the corner of Leavenworth and Eddy. \u003c/p>\n\u003cp>Kathy Looper, longtime owner of the Cadillac and the museum’s board president, came over with the news. The childcare center next door had closed. Would Conry be interested in taking a look?\u003c/p>\n\u003cp>“You could see the light bulbs going off in all of our heads as we walked around the space,” Looper remembers. “Much better than a basement.”\u003c/p>\n\u003cp>Underneath an elegant glass ceiling, they surveyed what had once been the hotel’s formal dining room, built in 1907, and later became \u003ca href=\"https://www.sfheritage.org/news/landmark-tuesdays-the-cadillac-hotel/\">Newman’s Gym\u003c/a>, where boxers Muhammad Ali, Jack Dempsey, George Foreman and Sugar Ray Robinson all trained or competed. (The floor still shows the boxing ring’s outline.)\u003c/p>\n\u003cfigure id=\"attachment_13971229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg\" alt=\"large indoor space under glass ceiling\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The former childcare center was the Cadillac Hotel’s dining room, and later a boxing gym. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 6,850 square feet, it was so much more space than the museum had ever hoped to gain. And with that space, they could entertain some of their wildest dreams. The opportunity was too good to pass up. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An expansion project would be plenty of work for most museums, especially when so many other San Francisco cultural institutions are struggling with attendance and fundraising. But the Tenderloin Museum is now producing a play, building out an off-site theater venue \u003ci>and\u003c/i> launching a capital campaign that seeks to raise $4.2 million over the next three years. The plan is to open the expanded museum in early 2026. \u003c/p>\n\u003cp>All of this work aims to tell a different, more in-depth story about the Tenderloin — and those who have shaped it.\u003c/p>\n\u003cp>“For me, it’s all about enhancing people’s understanding of the community,” Looper says. “Instead of the Tenderloin being a negative thing, it could be a positive. We are \u003ci>literally\u003c/i> the best cut, the tenderloin of the city.”\u003c/p>\n\u003cfigure id=\"attachment_13971244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg\" alt=\"white woman in black poses at table in museum gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Executive Director Katie Conry at the Tenderloin Museum on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Room for a more nuanced history\u003c/h2>\n\u003cp>If Conry has learned one thing during her decade at the museum, it’s that there is so much more to the Tenderloin than the current displays can capture. The museum’s main gallery covers the neighborhood’s vibrant history as an entertainment zone, immigrant hub and center for numerous social movements. On the ceiling, a delightful three-dimensional light-up map shows the Tenderloin’s buildings and intersections. \u003c/p>\n\u003cp>But in the lobby, just one wall is available for contemporary art shows. Recent history is radically condensed. Space isn’t just an issue for displays, either; staff offices are essentially a closet, making it tricky to have private or sensitive conversations — or solicit donors.\u003c/p>\n\u003cp>With this expansion, the museum will more than triple in size. The permanent exhibition space will move into the old childcare center, to be replaced by a new neon art gallery, with pieces borrowed from Jim Rizzo’s \u003ca href=\"http://www.neonwks.com/\">Neon Works\u003c/a> collection. \u003c/p>\n\u003cfigure id=\"attachment_13971239\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg\" alt=\"framed photos and text on red patterned wallpaper\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13971239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A display in the current main gallery of the Tenderloin Museum. After the expansion, this area will become part of a neon gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two generous galleries behind the permanent exhibition will host contemporary art exhibitions and a long-term installation on South Asian immigrants in the hotel industry. There is also a kitchen, extra bathrooms, a future youth-focused library, and plenty of room to host private events (and hopefully bring in additional revenue). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On a tour through the emptied-out childcare center, which still boasts a diminutive door next to an adult-sized one, the word that kept coming out of my mouth was, “Wow.”\u003c/p>\n\u003cp>The museum hopes to be closed for only the loudest part of the construction process — just a month or two, this spring. And despite the challenges ahead, Conry is optimistic they can buck local trends, which see San Francisco museums closing either temporarily or permanently. “I think we’re a unique space that has a dedicated following,” she says. “We’re able to be a bit more nimble than the larger organizations.”\u003c/p>\n\u003cp>That said, she wants the museum to be even more financially stable. Enter, stage left, another income stream: \u003ca href=\"https://www.comptonscafeteriariot.com/\">an ambitious play\u003c/a> based on the indelible neighborhood story of the Compton’s Cafeteria riot.\u003c/p>\n\u003cfigure id=\"attachment_13971242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg\" alt=\"person looks at notebook of dialogue while holding chin\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves works with the cast of ‘Compton’s Cafeteria Riot’ during a rehearsal on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art in service of a larger goal\u003c/h2>\n\u003cp>Five blocks away from the museum, an energetic team of theater professionals is rehearsing lines, blocking fight choreography and turning 835 Larkin St. into a semi-functional 1960s diner. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The play, written by Collette LeGrande, Mark Nassar and Donna Personna, initially premiered at \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\">New Village Cafe in 2018\u003c/a> and sold out its two-month-plus run.\u003c/p>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> takes place on an August night in 1966, at a 24-hour diner on the corner of Turk and Taylor. There, fed-up trans women, drag queens and sex workers rebelled in what \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\">historian Susan Stryker\u003c/a> identifies as the “first known instance of collective militant queer resistance to police harassment in United States history.”\u003c/p>\n\u003cp>The play, drawn largely from LeGrande and Personna’s own experiences, collapses the distance between audience and performer, lived history and theatrical retelling. Action takes place throughout the diner as audience members sit elbow-to-elbow with actors, or get a plate of pancakes from them.\u003c/p>\n\u003cp>“This is by far the most ambitious thing I’ve ever done,” says director Ezra Reaves, who has a background in immersive theater. “Every element needs so much more time than a traditional play because we have to build it out in extreme detail.”\u003c/p>\n\u003cfigure id=\"attachment_13971235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg\" alt=\"people look at person speaking, holding hands in emphasis, in a table-filled space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves (center) and the cast of ‘Compton’s Cafeteria Riot’ during rehearsal in a Larkin Street storefront converted to look like a 1960s diner. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to drag, live singing, a violent confrontation and harrowing, real stories, \u003ci>Compton’s Cafeteria Riot\u003c/i> comes with the sights, smells and tastes of breakfast (for dinner). The venue’s ongoing transformation from empty concrete box to 1960s diner is remarkable. Set designer \u003ca href=\"https://www.instagram.com/neogirlneon/\">Roxy Rose\u003c/a> is working on a neon sign for the storefront, and helped source the furnishings — booths, a cash register, bar, stools, jukebox and cigarette machine — that give the space its authentic ambiance.\u003c/p>\n\u003cp>Reaves says they brought LeGrande and Personna to Amoeba Records to select songs from the time period. “They picked a lot of Lesley Gore, which I love, and we put in a lot of Dionne Warwick,” Reaves says. “So we’ve got plenty of divas in the show.”\u003c/p>\n\u003cp>It’s been a difficult seven-year journey to bring the play back to audiences, largely due to the pandemic and the team’s commitment to immersive theater, which led to a year of permitting delays. But the importance of the production kept everyone focused on the end goal. “We died on this hill,” Conry says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13971237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg\" alt=\"two people stand in front of jukebox looking to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaylyn Abergas (left) and Shane Zaldivar, members of the ‘Compton’s Cafeteria Riot’ cast, rehearse on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> is, Nassar points out proudly, a “trans-centric production.” Conry sees it as an investment in the neighborhood. Reaves echoes the sentiment.\u003c/p>\n\u003cp>“It’s been my mission to not just make a show for entertainment, but to create a community here,” they say. “To create a piece of art that will continue to bring more people into the fold, and ultimately be an engine of creativity and employment for trans people in the community.”\u003c/p>\n\u003cp>As national politicians turn trans rights into a wedge issue, Conry says, works of art like \u003ci>Compton’s Cafeteria Riot\u003c/i> can bridge divides with understanding and empathy. So much of what the museum does — whether through exhibitions, walking tours, or, now, live theater — is about correcting misconceptions drawn from dominant, damaging narratives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s so many people who think they’ve never met a trans person, so they don’t know anything about their experience,” Conry says. “The arts really have the ability to change people’s hearts and minds. And when you see the play, you’re really there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "msg-play-sf-playhouse-exotic-deadly-time-travel-asian-stereotypes",
"title": "How to Debunk MSG Myths? Go Back in Time and Alter History, Of Course",
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"headTitle": "How to Debunk MSG Myths? Go Back in Time and Alter History, Of Course | KQED",
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"content": "\u003cp>When playwright Keiko Green was in her early teens, she learned that her grandfather — her ojiichan — had worked as a food scientist for Ajinomoto, the Tokyo-based company best known for inventing monosodium glutamate, a.k.a. MSG. In that moment, Green recalls, she didn’t feel a sense of pride in her family’s contribution to culinary history. Instead, she felt something more akin to shame. For a biracial \u003ca href=\"https://www.kqed.org/arts/tag/japanese-american\">Japanese American\u003c/a> kid growing up in a predominantly white suburb of Atlanta, Georgia, the MSG link was just one more thing that made her different.\u003c/p>\n\u003cp>“It just felt like I was sticking out so much,” she recalls. “And there was that teenage part of you that wants to just disappear into the background and be a little invisible.”\u003c/p>\n\u003cp>And anyway, \u003ca href=\"https://www.kqed.org/arts/13966489/asian-american-chefs-msg-event-series-sf-chinatown-edge-on-the-square\">wasn’t MSG \u003ci>bad\u003c/i>\u003c/a>?\u003c/p>\n\u003cp>Well, no. Years later — long after Green had learned that those old “\u003ca href=\"https://www.sciencehistory.org/stories/magazine/the-rotten-science-behind-the-msg-scare/\">Chinese Restaurant Syndrome\u003c/a>” campaigns were based on \u003ca href=\"https://www.newyorker.com/culture/annals-of-gastronomy/an-msg-convert-visits-the-high-church-of-umami\">bad science\u003c/a> and, often, blatant \u003ca href=\"https://www.nbcnews.com/news/asian-america/eddie-huang-racial-insensitivities-behind-msg-chinese-food-criticisms-n1115386\">racism\u003c/a> — the playwright recreated this moment of racialized teen angst in her play \u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/exotic-deadly-or-the-msg-play/\">\u003ci>Exotic Deadly: Or the MSG Play\u003c/i>\u003c/a>, which opens at San Francisco Playhouse on Jan. 30, directed by Jesca Prudencio.\u003c/p>\n\u003cfigure id=\"attachment_13970888\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4.jpg\" alt=\"A woman in a baseball cap seated in a theater with her arms outstretched. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keiko Green wrote ‘Exotic Deadly’ during the pandemic, drawing on her own family connection to the Japanese company that invented MSG. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Green, the protagonist, Ami (played by Ana Ming Bostwick-Singer), is an Asian American teen growing up in the late ’90s. Ami first hears about MSG from a doctor on TV who warns about the flavor enhancer “poisoning America.” When she learns that her grandfather was the Japanese scientist who invented the headache-inducing powder, it’s like finding out that her own blood is tainted. She, too, wishes she could just make herself invisible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is where the play deviates a bit from personal biography. Ami decides that the best thing to do is to travel back in time to prevent her ojiichan from ever inventing MSG, thus redeeming her family’s reputation and saving the entire world in the process. As you do.\u003c/p>\n\u003cp>Madcap sci-fi twists notwithstanding, Green says \u003ci>Exotic Deadly\u003c/i> draws on her own adolescent experience more than any of her previous work. The play taps into the self-consciousness that Green felt about her Asian identity, especially when it came to the “lovely, nutritious bento” lunches that her mother packed for her every day. Those lunchboxes became a daily battle, Green recalls, even though she \u003ci>loved \u003c/i>her mother’s cooking. She especially relished her traditional Japanese breakfasts: a full spread of grilled fish, rice, miso soup, pickled plums and, her favorite, the sticky, funky fermented soybeans known as natto. (“I would obviously never take natto to school,” she says.)\u003c/p>\n\u003cp>Green remembers having bottles of the MSG seasoning powder at home, but her mom kept them hidden in a little cupboard — as though she, too, believed there was something shameful about the stuff.\u003c/p>\n\u003cp>“Later on, when I thought about that shame of internalized racism, I really thought back to the image of my mom keeping that bottle hidden away,” Green says.\u003c/p>\n\u003cfigure id=\"attachment_13970890\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Jesca Prudencio (left) and Green at a workshop for SF Playhouse’s production of ‘Exotic Deadly.’ \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green, whose recent work includes a writing credit on \u003ca href=\"https://www.npr.org/2024/11/29/1215793965/interior-chinatown-is-a-genre-bending-exploration-of-asian-american-identity\">Hulu’s genre-bending adaptation of Charles Yu’s \u003ci>Interior Chinatown\u003c/i>\u003c/a>, knew she wanted to write a play about her family connection to MSG. But every time she tried, it always felt a little bit too clichéd. It was only after the COVID shutdown hit, she says, that she stopped worrying about whether the “gatekeepers” of the theater world would approve of the play. She wrote \u003ci>Exotic Deadly \u003c/i>mainly just to make herself laugh.\u003c/p>\n\u003cp>Though the play does deal with heavy themes of racism, Green says, it’s also by far the “craziest” play she’s ever written. “It breaks every rule,” she says. “It has a bajillion characters. Sometimes we change locations three times on a page.”\u003c/p>\n\u003cp>And since pseudoscience had imbued MSG with so many fake, insidious properties, Green thought it would be fun to give MSG even \u003ci>more \u003c/i>fake effects: “In this play, MSG makes you really good at kung fu fighting. It can make you time travel. It heals your bones.”\u003c/p>\n\u003cp>Then there’s the character who goes by “Exotic Deadly” (played by Francesca Fernandez) — a phrase that Green took directly from an old article about MSG. The name also evokes her memories of her early days as a stage actress, when every role for Asian American women seemed overtly sexualized. “Even in Shakespeare, they wanted you to play the prostitute,” she recalls. In the play, Exotic Deadly is the new girl from Japan who serves as Ami’s foil — who loves MSG, is proud of her Asian identity, and is full of rage toward the systems and stereotypes that oppress her.\u003c/p>\n\u003cp>The play ends with a big spectacle, and the idea, Green says, is for the climactic moment to \u003ci>feel\u003c/i> the way that MSG tastes.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13966489,arts_13934852,arts_13920714']\u003c/span>\u003c/span>For Asian Americans who grew up in the heyday of \u003ca href=\"https://www.reddit.com/r/aznidentity/comments/qhxho4/what_are_all_the_azn_pride_people_back_in_the/\">AZN Pride\u003c/a>, the reclamation of MSG has been a major project of the past dozen years, championed by chefs like David Chang and Anthony Bourdain, and food scientists like \u003ca href=\"https://web.archive.org/web/20150115205527/https://luckypeach.com/on-msg-and-chinese-restaurant-syndrome/\">Harold McGee\u003c/a>. These days, MSG pride is as mainstream — and as widely \u003ca href=\"https://www.tiktok.com/@iantedy/video/7056639071141121306\">memeified\u003c/a> — as boba pride, and “Chinese Restaurant Syndrome” has been thoroughly debunked.\u003c/p>\n\u003cp>Even still, Green says that every time she wonders if a play like \u003ci>Exotic Deadly \u003c/i>is still relevant after such a sea change, she’ll see a comment from a theater colleague or a random poster on the internet who says, in full earnestness, “Finally, someone is talking about how deadly [MSG] is.”\u003c/p>\n\u003cp>And while COVID helped birth the play, it also set off a wave of anti-Asian sentiment in the U.S. In March 2021, when Green was preparing for the first big stage reading for \u003ci>Exotic Deadly\u003c/i> at The Old Globe in San Diego, the Atlanta spa shootings happened — eight people, including six women of Asian descent, shot and killed by a young man who told police he had a sex addiction.\u003c/p>\n\u003cp>\u003ci>Exotic Deadly\u003c/i> doesn’t deal directly with the violent side of exotification — to be clear, by Green’s own account, the play is a pure comedy. But the spate of anti-Asian hate crimes in the past few years has made her think about how for so many immigrants, their culture’s food is often the very first thing they’re made to feel ashamed of.\u003c/p>\n\u003cp>“We’re taught at such a young age that it’s okay to ‘other’ certain kinds of culture and food,” she says. “So when I see violence, when I see anti-Asian hate, I actually feel like it’s all extremely connected.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/exotic-deadly-or-the-msg-play/\">Exotic Deadly: Or the MSG Play\u003c/a>\u003ci> runs from Jan. 30 through March 8 at SF Playhouse (450 Post St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When playwright Keiko Green was in her early teens, she learned that her grandfather — her ojiichan — had worked as a food scientist for Ajinomoto, the Tokyo-based company best known for inventing monosodium glutamate, a.k.a. MSG. In that moment, Green recalls, she didn’t feel a sense of pride in her family’s contribution to culinary history. Instead, she felt something more akin to shame. For a biracial \u003ca href=\"https://www.kqed.org/arts/tag/japanese-american\">Japanese American\u003c/a> kid growing up in a predominantly white suburb of Atlanta, Georgia, the MSG link was just one more thing that made her different.\u003c/p>\n\u003cp>“It just felt like I was sticking out so much,” she recalls. “And there was that teenage part of you that wants to just disappear into the background and be a little invisible.”\u003c/p>\n\u003cp>And anyway, \u003ca href=\"https://www.kqed.org/arts/13966489/asian-american-chefs-msg-event-series-sf-chinatown-edge-on-the-square\">wasn’t MSG \u003ci>bad\u003c/i>\u003c/a>?\u003c/p>\n\u003cp>Well, no. Years later — long after Green had learned that those old “\u003ca href=\"https://www.sciencehistory.org/stories/magazine/the-rotten-science-behind-the-msg-scare/\">Chinese Restaurant Syndrome\u003c/a>” campaigns were based on \u003ca href=\"https://www.newyorker.com/culture/annals-of-gastronomy/an-msg-convert-visits-the-high-church-of-umami\">bad science\u003c/a> and, often, blatant \u003ca href=\"https://www.nbcnews.com/news/asian-america/eddie-huang-racial-insensitivities-behind-msg-chinese-food-criticisms-n1115386\">racism\u003c/a> — the playwright recreated this moment of racialized teen angst in her play \u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/exotic-deadly-or-the-msg-play/\">\u003ci>Exotic Deadly: Or the MSG Play\u003c/i>\u003c/a>, which opens at San Francisco Playhouse on Jan. 30, directed by Jesca Prudencio.\u003c/p>\n\u003cfigure id=\"attachment_13970888\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4.jpg\" alt=\"A woman in a baseball cap seated in a theater with her arms outstretched. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli4-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Keiko Green wrote ‘Exotic Deadly’ during the pandemic, drawing on her own family connection to the Japanese company that invented MSG. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Green, the protagonist, Ami (played by Ana Ming Bostwick-Singer), is an Asian American teen growing up in the late ’90s. Ami first hears about MSG from a doctor on TV who warns about the flavor enhancer “poisoning America.” When she learns that her grandfather was the Japanese scientist who invented the headache-inducing powder, it’s like finding out that her own blood is tainted. She, too, wishes she could just make herself invisible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is where the play deviates a bit from personal biography. Ami decides that the best thing to do is to travel back in time to prevent her ojiichan from ever inventing MSG, thus redeeming her family’s reputation and saving the entire world in the process. As you do.\u003c/p>\n\u003cp>Madcap sci-fi twists notwithstanding, Green says \u003ci>Exotic Deadly\u003c/i> draws on her own adolescent experience more than any of her previous work. The play taps into the self-consciousness that Green felt about her Asian identity, especially when it came to the “lovely, nutritious bento” lunches that her mother packed for her every day. Those lunchboxes became a daily battle, Green recalls, even though she \u003ci>loved \u003c/i>her mother’s cooking. She especially relished her traditional Japanese breakfasts: a full spread of grilled fish, rice, miso soup, pickled plums and, her favorite, the sticky, funky fermented soybeans known as natto. (“I would obviously never take natto to school,” she says.)\u003c/p>\n\u003cp>Green remembers having bottles of the MSG seasoning powder at home, but her mom kept them hidden in a little cupboard — as though she, too, believed there was something shameful about the stuff.\u003c/p>\n\u003cp>“Later on, when I thought about that shame of internalized racism, I really thought back to the image of my mom keeping that bottle hidden away,” Green says.\u003c/p>\n\u003cfigure id=\"attachment_13970890\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SFP_ExoticDeadlyWorkshop_JessicaPalopoli2-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Jesca Prudencio (left) and Green at a workshop for SF Playhouse’s production of ‘Exotic Deadly.’ \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green, whose recent work includes a writing credit on \u003ca href=\"https://www.npr.org/2024/11/29/1215793965/interior-chinatown-is-a-genre-bending-exploration-of-asian-american-identity\">Hulu’s genre-bending adaptation of Charles Yu’s \u003ci>Interior Chinatown\u003c/i>\u003c/a>, knew she wanted to write a play about her family connection to MSG. But every time she tried, it always felt a little bit too clichéd. It was only after the COVID shutdown hit, she says, that she stopped worrying about whether the “gatekeepers” of the theater world would approve of the play. She wrote \u003ci>Exotic Deadly \u003c/i>mainly just to make herself laugh.\u003c/p>\n\u003cp>Though the play does deal with heavy themes of racism, Green says, it’s also by far the “craziest” play she’s ever written. “It breaks every rule,” she says. “It has a bajillion characters. Sometimes we change locations three times on a page.”\u003c/p>\n\u003cp>And since pseudoscience had imbued MSG with so many fake, insidious properties, Green thought it would be fun to give MSG even \u003ci>more \u003c/i>fake effects: “In this play, MSG makes you really good at kung fu fighting. It can make you time travel. It heals your bones.”\u003c/p>\n\u003cp>Then there’s the character who goes by “Exotic Deadly” (played by Francesca Fernandez) — a phrase that Green took directly from an old article about MSG. The name also evokes her memories of her early days as a stage actress, when every role for Asian American women seemed overtly sexualized. “Even in Shakespeare, they wanted you to play the prostitute,” she recalls. In the play, Exotic Deadly is the new girl from Japan who serves as Ami’s foil — who loves MSG, is proud of her Asian identity, and is full of rage toward the systems and stereotypes that oppress her.\u003c/p>\n\u003cp>The play ends with a big spectacle, and the idea, Green says, is for the climactic moment to \u003ci>feel\u003c/i> the way that MSG tastes.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>For Asian Americans who grew up in the heyday of \u003ca href=\"https://www.reddit.com/r/aznidentity/comments/qhxho4/what_are_all_the_azn_pride_people_back_in_the/\">AZN Pride\u003c/a>, the reclamation of MSG has been a major project of the past dozen years, championed by chefs like David Chang and Anthony Bourdain, and food scientists like \u003ca href=\"https://web.archive.org/web/20150115205527/https://luckypeach.com/on-msg-and-chinese-restaurant-syndrome/\">Harold McGee\u003c/a>. These days, MSG pride is as mainstream — and as widely \u003ca href=\"https://www.tiktok.com/@iantedy/video/7056639071141121306\">memeified\u003c/a> — as boba pride, and “Chinese Restaurant Syndrome” has been thoroughly debunked.\u003c/p>\n\u003cp>Even still, Green says that every time she wonders if a play like \u003ci>Exotic Deadly \u003c/i>is still relevant after such a sea change, she’ll see a comment from a theater colleague or a random poster on the internet who says, in full earnestness, “Finally, someone is talking about how deadly [MSG] is.”\u003c/p>\n\u003cp>And while COVID helped birth the play, it also set off a wave of anti-Asian sentiment in the U.S. In March 2021, when Green was preparing for the first big stage reading for \u003ci>Exotic Deadly\u003c/i> at The Old Globe in San Diego, the Atlanta spa shootings happened — eight people, including six women of Asian descent, shot and killed by a young man who told police he had a sex addiction.\u003c/p>\n\u003cp>\u003ci>Exotic Deadly\u003c/i> doesn’t deal directly with the violent side of exotification — to be clear, by Green’s own account, the play is a pure comedy. But the spate of anti-Asian hate crimes in the past few years has made her think about how for so many immigrants, their culture’s food is often the very first thing they’re made to feel ashamed of.\u003c/p>\n\u003cp>“We’re taught at such a young age that it’s okay to ‘other’ certain kinds of culture and food,” she says. “So when I see violence, when I see anti-Asian hate, I actually feel like it’s all extremely connected.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/exotic-deadly-or-the-msg-play/\">Exotic Deadly: Or the MSG Play\u003c/a>\u003ci> runs from Jan. 30 through March 8 at SF Playhouse (450 Post St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sara-bareilles-awards-national-high-school-musical-theatre-eureka",
"title": "Sara Bareilles Wants High School Theater Kids to Feel Loved",
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"content": "\u003cp>If there’s anyone who knows the difference a high school theater program can make on a young person’s life, it’s Sara Bareilles. \u003c/p>\n\u003cp>Insecure, teased about her weight and stuck in the small, remote Northern California city of Eureka, Bareilles struggled through school until finding her people: the music and drama kids. \u003c/p>\n\u003cp>“Theater was the first place where I felt like I actually belonged,” Bareilles tells me on a recent Zoom call. “Where I wasn’t experiencing this sort of trap-door feeling, where at any point people could turn on you.”\u003c/p>\n\u003cp>It’s entirely appropriate, then, that the Northern California regional National High School Musical Theatre Awards — also known as the \u003ca href=\"https://www.jimmyawards.com/\">Jimmy Awards\u003c/a> — have been renamed the \u003ca href=\"https://www.broadwaysf.com/awards/\">Sara Bareilles Awards\u003c/a>. Each year under the program, two high school theater students from the region will be chosen for a week-long trip to New York to study with theatre professionals and compete for national recognition. \u003c/p>\n\u003cp>Bareilles, of course, made it out of Eureka to become a Grammy-winning, Tony-nominated artist who’s responsible for one of the 21st century’s catchiest radio hits (“\u003ca href=\"https://www.youtube.com/watch?v=qi7Yh16dA0w\">Love Song\u003c/a>”); a fan and critic’s favorite on Broadway (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13968804/waitress-musical-san-francisco-playhouse-review\">Waitress\u003c/a>\u003c/em>); and, most recently, \u003ca href=\"https://www.pbs.org/video/sara-bareilles-new-years-eve-with-the-national-symphony-orchestra-friends-pimtqy/\">her own PBS concert special\u003c/a> recorded at the Kennedy Center.\u003c/p>\n\u003cfigure id=\"attachment_13970811\" class=\"wp-caption aligncenter\" style=\"max-width: 1192px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents.jpg\" alt=\"\" width=\"1192\" height=\"1194\" class=\"size-full wp-image-13970811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents.jpg 1192w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents-1020x1022.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents-768x769.jpg 768w\" sizes=\"auto, (max-width: 1192px) 100vw, 1192px\">\u003cfigcaption class=\"wp-caption-text\">Sara Bareilles, at left, meeting with students from Humboldt County’s Fortuna High School during the Broadway run of ‘Waitress’ at the Brooks Atkinson Theatre in New York City. \u003ccite>(Facebook/Sara Bareilles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it all started in Humboldt County. The young Bareilles had already acted in some community plays when, in 1996, she was cast as Audrey in her high school’s production of \u003cem>Little Shop of Horrors\u003c/em>. Looking back on the experience — locals still talk about the long lines for tickets outside Eureka High School’s theater — she likens it to suddenly finding a safe haven.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we create these spaces for kids,” she says, “where they feel like they get taken seriously, and their talent gets taken seriously, and their drive and their contribution as young artists gets taken seriously, it makes a huge difference in what they imagine is possible for themselves.”\u003c/p>\n\u003cp>[aside postID='news_11697929']Shannon Martin, who directed Bareilles in that Eureka High production of \u003cem>Little Shop of Horrors\u003c/em>, now lives in Redding. Reached by phone, Martin can still remember the school’s music teachers urging her to cast Bareilles in the lead role. To ensure fairness, Martin required everyone to audition, but the answer was clear. At just 16 years old, Bareilles “hit it out of the park,” Martin says.\u003c/p>\n\u003cp>Bareilles didn’t need much training or directing once cast, either. To hear Martin tell it, she arrived almost fully formed. Martin showed her how to do a stage slap, but “that’s the only thing I feel like I taught her – how to turn her back to the audience, and flip her hair. She already knew how to do everything else.”\u003c/p>\n\u003cp>All the more reason why high school theater, and the space it allows natural talents to realize their potential, is important. The following year, as a senior, Bareilles was voted “Most Talented” and “Most Likely to Become Famous” by her classmates. The rest is history. \u003c/p>\n\u003cfigure id=\"attachment_13970812\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting.jpg\" alt=\"\" width=\"2000\" height=\"1515\" class=\"size-full wp-image-13970812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-1020x773.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-1536x1164.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-1920x1454.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In her senior year, after performing in plays and overcoming insecurities, Sara Bareilles was voted ‘Most Likely to Become Famous’ and ‘Most Talented’ by her peers, as pictured in the 1998 Eureka High School yearbook. \u003ccite>(Courtesy Savannah Polizzi / Eureka High School)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bareilles talks to high school students today, as she often does, she reminds them that it’s OK to not be OK. Bareilles is open about her history of anxiety and depression, and the benefits of proper medication.\u003c/p>\n\u003cp>“Vulnerability is really important to me, and authenticity, and transparency. And it really matters to me to \u003cem>not\u003c/em> project some kind of facade that I’m okay or that I have everything figured out,” she says. \u003c/p>\n\u003cp>The National High School Musical Theatre Awards were founded in 2009, with regional divisions all over the country sponsored by local theater producers of touring Broadway shows. The Northern California region, which had previously been known as the BroadwaySF High School Musical Theatre Awards, covers San Francisco and Alameda Counties, and all counties north, including Humboldt.\u003c/p>\n\u003cp>As for lending her name to the awards, which in other regions around the country are named for luminaries like Stephen Sondheim, Gene Kelly and Rita Moreno, “I’m so excited. And my mom is thrilled,” Bareilles says. \u003c/p>\n\u003cp>Her mom’s not the only one. Eureka High librarian Savannah Polizzi says the school was overjoyed when Barielles decided to do \u003ca href=\"https://www.facebook.com/watch/?v=5544063265709654\">a free concert in 2022 for over 11,000 people in Eureka\u003c/a>, shouldering the majority of the costs herself. “And we’re always grateful for her sponsorship and involvement in community endeavors,” Polizzi says.\u003c/p>\n\u003cp>Martin, meanwhile, is glad to also have been part of something special in directing Bareilles. She recently went to see her former student star in the movie version of \u003cem>Waitress: The Musical\u003c/em>.\u003c/p>\n\u003cp>“And I just cried,” she says. “I was so proud.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.broadwaysf.com/awards/\">Registration for the Sara Bareilles Awards\u003c/a> is open now through March 10. The awards ceremony takes place Saturday and Sunday, May 17 and 18, at the Orpheum Theatre in San Francisco.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s anyone who knows the difference a high school theater program can make on a young person’s life, it’s Sara Bareilles. \u003c/p>\n\u003cp>Insecure, teased about her weight and stuck in the small, remote Northern California city of Eureka, Bareilles struggled through school until finding her people: the music and drama kids. \u003c/p>\n\u003cp>“Theater was the first place where I felt like I actually belonged,” Bareilles tells me on a recent Zoom call. “Where I wasn’t experiencing this sort of trap-door feeling, where at any point people could turn on you.”\u003c/p>\n\u003cp>It’s entirely appropriate, then, that the Northern California regional National High School Musical Theatre Awards — also known as the \u003ca href=\"https://www.jimmyawards.com/\">Jimmy Awards\u003c/a> — have been renamed the \u003ca href=\"https://www.broadwaysf.com/awards/\">Sara Bareilles Awards\u003c/a>. Each year under the program, two high school theater students from the region will be chosen for a week-long trip to New York to study with theatre professionals and compete for national recognition. \u003c/p>\n\u003cp>Bareilles, of course, made it out of Eureka to become a Grammy-winning, Tony-nominated artist who’s responsible for one of the 21st century’s catchiest radio hits (“\u003ca href=\"https://www.youtube.com/watch?v=qi7Yh16dA0w\">Love Song\u003c/a>”); a fan and critic’s favorite on Broadway (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13968804/waitress-musical-san-francisco-playhouse-review\">Waitress\u003c/a>\u003c/em>); and, most recently, \u003ca href=\"https://www.pbs.org/video/sara-bareilles-new-years-eve-with-the-national-symphony-orchestra-friends-pimtqy/\">her own PBS concert special\u003c/a> recorded at the Kennedy Center.\u003c/p>\n\u003cfigure id=\"attachment_13970811\" class=\"wp-caption aligncenter\" style=\"max-width: 1192px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents.jpg\" alt=\"\" width=\"1192\" height=\"1194\" class=\"size-full wp-image-13970811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents.jpg 1192w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents-1020x1022.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Bareilles.HSStudents-768x769.jpg 768w\" sizes=\"auto, (max-width: 1192px) 100vw, 1192px\">\u003cfigcaption class=\"wp-caption-text\">Sara Bareilles, at left, meeting with students from Humboldt County’s Fortuna High School during the Broadway run of ‘Waitress’ at the Brooks Atkinson Theatre in New York City. \u003ccite>(Facebook/Sara Bareilles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it all started in Humboldt County. The young Bareilles had already acted in some community plays when, in 1996, she was cast as Audrey in her high school’s production of \u003cem>Little Shop of Horrors\u003c/em>. Looking back on the experience — locals still talk about the long lines for tickets outside Eureka High School’s theater — she likens it to suddenly finding a safe haven.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we create these spaces for kids,” she says, “where they feel like they get taken seriously, and their talent gets taken seriously, and their drive and their contribution as young artists gets taken seriously, it makes a huge difference in what they imagine is possible for themselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Shannon Martin, who directed Bareilles in that Eureka High production of \u003cem>Little Shop of Horrors\u003c/em>, now lives in Redding. Reached by phone, Martin can still remember the school’s music teachers urging her to cast Bareilles in the lead role. To ensure fairness, Martin required everyone to audition, but the answer was clear. At just 16 years old, Bareilles “hit it out of the park,” Martin says.\u003c/p>\n\u003cp>Bareilles didn’t need much training or directing once cast, either. To hear Martin tell it, she arrived almost fully formed. Martin showed her how to do a stage slap, but “that’s the only thing I feel like I taught her – how to turn her back to the audience, and flip her hair. She already knew how to do everything else.”\u003c/p>\n\u003cp>All the more reason why high school theater, and the space it allows natural talents to realize their potential, is important. The following year, as a senior, Bareilles was voted “Most Talented” and “Most Likely to Become Famous” by her classmates. The rest is history. \u003c/p>\n\u003cfigure id=\"attachment_13970812\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting.jpg\" alt=\"\" width=\"2000\" height=\"1515\" class=\"size-full wp-image-13970812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-1020x773.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-1536x1164.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/SaraBareilles1998.SeniorVoting-1920x1454.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In her senior year, after performing in plays and overcoming insecurities, Sara Bareilles was voted ‘Most Likely to Become Famous’ and ‘Most Talented’ by her peers, as pictured in the 1998 Eureka High School yearbook. \u003ccite>(Courtesy Savannah Polizzi / Eureka High School)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bareilles talks to high school students today, as she often does, she reminds them that it’s OK to not be OK. Bareilles is open about her history of anxiety and depression, and the benefits of proper medication.\u003c/p>\n\u003cp>“Vulnerability is really important to me, and authenticity, and transparency. And it really matters to me to \u003cem>not\u003c/em> project some kind of facade that I’m okay or that I have everything figured out,” she says. \u003c/p>\n\u003cp>The National High School Musical Theatre Awards were founded in 2009, with regional divisions all over the country sponsored by local theater producers of touring Broadway shows. The Northern California region, which had previously been known as the BroadwaySF High School Musical Theatre Awards, covers San Francisco and Alameda Counties, and all counties north, including Humboldt.\u003c/p>\n\u003cp>As for lending her name to the awards, which in other regions around the country are named for luminaries like Stephen Sondheim, Gene Kelly and Rita Moreno, “I’m so excited. And my mom is thrilled,” Bareilles says. \u003c/p>\n\u003cp>Her mom’s not the only one. Eureka High librarian Savannah Polizzi says the school was overjoyed when Barielles decided to do \u003ca href=\"https://www.facebook.com/watch/?v=5544063265709654\">a free concert in 2022 for over 11,000 people in Eureka\u003c/a>, shouldering the majority of the costs herself. “And we’re always grateful for her sponsorship and involvement in community endeavors,” Polizzi says.\u003c/p>\n\u003cp>Martin, meanwhile, is glad to also have been part of something special in directing Bareilles. She recently went to see her former student star in the movie version of \u003cem>Waitress: The Musical\u003c/em>.\u003c/p>\n\u003cp>“And I just cried,” she says. “I was so proud.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.broadwaysf.com/awards/\">Registration for the Sara Bareilles Awards\u003c/a> is open now through March 10. The awards ceremony takes place Saturday and Sunday, May 17 and 18, at the Orpheum Theatre in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "high-princx-pageant-drag-competition-san-francisco-2024",
"title": "San Francisco’s High Princx Pageant Promises a Drag Competition for the Ages",
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"content": "\u003cp>Last year at the High Princx Pageant, \u003ca href=\"https://www.instagram.com/hello.sassi.fran/\">Sassi Fran\u003c/a> knew she’d be competing against some of the Bay Area’s best drag performers — and getting judged by them, too. So she and her friends spent hours hand-making dozens of delicate tulle flowers that would make up the robe she’d wear on stage. She was preparing for a moment that would make everyone gasp: On the runway, she dropped her robe and revealed a luminescent mushroom outfit that changed color under the blacklight.\u003c/p>\n\u003cp>Sassi got a top score that night; the following week, with a high-drama number that incorporated Filipino folk dance, she clinched the victory. Looking back as she gets ready to relinquish her crown when the \u003ca href=\"https://www.eventbrite.com/e/the-high-princx-pageant-2025-w-pattie-gonia-118-tickets-1070805300479\">pageant returns this weekend\u003c/a>, she says the two-weekend competition gave her the motivation she needed to take her drag to new creative and technical heights.\u003c/p>\n\u003cp>“I created something that really pushed myself further than I have before,” she reflects. Indeed, her victory led to high-profile gigs, including opening for \u003cem>RuPaul’s Drag Race\u003c/em> royalty Crystal Methyd and Alaska at major venues like San Francisco’s Palace of Fine Arts and Bimbo’s 365 Club.\u003c/p>\n\u003cfigure id=\"attachment_13970361\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970361\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"2129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-800x665.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1020x848.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-768x639.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1536x1277.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-2048x1703.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1920x1597.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sassi Fran, the winner of the 2024 High Princx Pageant, struts the runway in her mushroom look. \u003ccite>(Rachel Ziegler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Providing a stage for drag performers to elevate their craft is exactly what the pageant’s founder, \u003ca href=\"https://www.instagram.com/tito.so.to/?hl=en\">Tito Soto\u003c/a>, envisioned when he devised it as an offshoot of his popular Saturday night party at Oasis, \u003ca href=\"https://www.sfoasis.com/princess?gad_source=1&gclid=Cj0KCQiA1p28BhCBARIsADP9HrNS-G81gNbA5oC2zO8Q8i-jhzM8v4OklhyNun8HFK_NFZuiYAHAU-IaAkZEEALw_wcB\">Princess\u003c/a>. Since the pandemic, Princess has become San Francisco’s go-to destination for nationally touring drag performers and high-caliber local artists.\u003c/p>\n\u003cp>Whether a performer wants to levitate above the crowd using a scissor lift, pop confetti on cue with a beat drop or envelop the stage in plumes of fog, Oasis has the technical setup for the “wow” moments fans crave. “It wasn’t until I started doing drag in San Francisco and found Oasis that I realized, this is where I need to be, this is where I can flourish,” says Soto, who had a past life as a theme-park designer in Los Angeles. “This venue gives me the capabilities to use all the tech I need in order to execute the vision that I want to put on a big drag spectacular.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Jan. 18, Princess party-goers will meet this year’s eight High Princx contestants, who include \u003ca href=\"https://www.instagram.com/jeteguevaraog/\">Jeté Guevara\u003c/a>, a veteran performer of 30 years with a rockstar energy; \u003ca href=\"https://www.instagram.com/sadiecreekwoodsparkles/\">Sadie Creekwood\u003c/a>, who pushes the limits of campy horror; and \u003ca href=\"https://www.instagram.com/pangaeas_planet/\">Pangaea\u003c/a>, a performance artist who delivers surrealist looks with a side of activism. Also gunning for the crown are \u003ca href=\"https://www.instagram.com/vicky.cristinabarcelona/\">Vicky Cristina Barcelona\u003c/a>, whose high-femme fashions often rep Puerto Rican pride; \u003ca href=\"https://www.instagram.com/itsmaryvice/\">Mary Vice\u003c/a>, a queen-about-town who hosts Pillows at Powerhouse and The Hot Boxxx Girls at Aunt Charlie’s; \u003ca href=\"https://www.instagram.com/elmasjota/\">Jota Mercury\u003c/a>, an award-winning drag king who “puts the cheese in machismo”; \u003ca href=\"https://www.instagram.com/themojocarter/\">Mojo Carter\u003c/a>, a rising star with a face to kill; and \u003ca href=\"https://www.instagram.com/delilahbefierce20/\">Delilah Befierce\u003c/a>, who goes all the way with her cosplayish ensembles (see: her recent glamorous take on the Grinch).[aside postid='arts_13970321']\u003c/p>\n\u003cp>“We want to highlight all the different kinds of drag that you can see, and all different kinds of gender expression and mini scenes,” says Soto. “There’s many different ways of expressing the art form. So we make sure that our cast represents the whole amalgam.”\u003c/p>\n\u003cp>After delivering their best “creative presentation” runway looks and charming the audience during a Q&A portion, contestants will face off in a lip-sync battle on Jan. 18. The competition will continue with a high-stakes talent showcase on Jan. 25 where performers will pull out all the stops for the finale.\u003c/p>\n\u003cp>“They are allowed to tell their story, however they want to tell it, in their biggest and grandest and most impactful way,” Soto explains. “And that is the category with the most points.”\u003c/p>\n\u003cfigure id=\"attachment_13970359\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970359\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-scaled.jpg\" alt=\"Four drag artists pose in dramatic pink outfits. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Princess producer Tito Soto (center, seated) with High Princx Pageant hosts Kochina Rude, Nicki Jizz and Lisa Frankenstein (left to right). \u003ccite>(Chantel Beam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The star-studded judges’ panel includes acclaimed drag queen and environmentalist Pattie Gonia; Rock M Sakura, who repped San Francisco on \u003cem>RuPaul’s Drag Race\u003c/em> season 12; Oasis owner and San Francisco’s first Drag Laureate, \u003ca href=\"https://www.kqed.org/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub\">D’Arcy Drollinger\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">Juanita MORE!\u003c/a>, a local legend whose activist endeavors are only outnumbered by her many couture looks; Soto himself and more.\u003c/p>\n\u003cp>As far as what the judges are looking for? “I want my jaw on the floor,” says Nicki Jizz, who will host the first weekend and judge the second. “I want to see numbers that are moving, sad, funny, ridiculous — sometimes I want all of it at once.” [aside postid='arts_13970297']\u003c/p>\n\u003cp>In addition to big hair, acrobatic choreography and surprise reveals, it’s likely that some performances will include social and political commentary — especially as the incoming presidential administration threatens to strip away trans rights. Over the past four years, Princess has become an avenue for activism on and off the stage. Each week, party co-host Kochina Rude gives a short talk about Narcan and safe partying, which inspired the city to create a \u003ca href=\"https://www.kqed.org/arts/13961839/drag-queens-overdose-prevention-narcan-san-francisco\">drag-powered overdose prevention campaign\u003c/a> led by Rude and Nicki Jizz.\u003c/p>\n\u003cp>“I think drag in the Bay Area is always pushing boundaries,” reflects Jizz on the art form’s growing influence. “It’s always evolving. It’s strong, it’s powerful and it can never be stopped.”\u003c/p>\n\u003cp>It’s that sort of scene — with equal parts glamor and heart — that Soto wants the High Princx Pageant to nurture.\u003c/p>\n\u003cp>“When so many people that care so much about the community work together in their own ways to uplift each other,” he says, “then you see the magic happen.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The High Princx Pageant gets underway at Oasis Jan. 18 and 25. \u003ca href=\"https://www.eventbrite.com/e/the-high-princx-pageant-2025-w-pattie-gonia-118-tickets-1070807848099\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year at the High Princx Pageant, \u003ca href=\"https://www.instagram.com/hello.sassi.fran/\">Sassi Fran\u003c/a> knew she’d be competing against some of the Bay Area’s best drag performers — and getting judged by them, too. So she and her friends spent hours hand-making dozens of delicate tulle flowers that would make up the robe she’d wear on stage. She was preparing for a moment that would make everyone gasp: On the runway, she dropped her robe and revealed a luminescent mushroom outfit that changed color under the blacklight.\u003c/p>\n\u003cp>Sassi got a top score that night; the following week, with a high-drama number that incorporated Filipino folk dance, she clinched the victory. Looking back as she gets ready to relinquish her crown when the \u003ca href=\"https://www.eventbrite.com/e/the-high-princx-pageant-2025-w-pattie-gonia-118-tickets-1070805300479\">pageant returns this weekend\u003c/a>, she says the two-weekend competition gave her the motivation she needed to take her drag to new creative and technical heights.\u003c/p>\n\u003cp>“I created something that really pushed myself further than I have before,” she reflects. Indeed, her victory led to high-profile gigs, including opening for \u003cem>RuPaul’s Drag Race\u003c/em> royalty Crystal Methyd and Alaska at major venues like San Francisco’s Palace of Fine Arts and Bimbo’s 365 Club.\u003c/p>\n\u003cfigure id=\"attachment_13970361\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970361\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"2129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-800x665.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1020x848.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-768x639.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1536x1277.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-2048x1703.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_9637-1920x1597.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sassi Fran, the winner of the 2024 High Princx Pageant, struts the runway in her mushroom look. \u003ccite>(Rachel Ziegler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Providing a stage for drag performers to elevate their craft is exactly what the pageant’s founder, \u003ca href=\"https://www.instagram.com/tito.so.to/?hl=en\">Tito Soto\u003c/a>, envisioned when he devised it as an offshoot of his popular Saturday night party at Oasis, \u003ca href=\"https://www.sfoasis.com/princess?gad_source=1&gclid=Cj0KCQiA1p28BhCBARIsADP9HrNS-G81gNbA5oC2zO8Q8i-jhzM8v4OklhyNun8HFK_NFZuiYAHAU-IaAkZEEALw_wcB\">Princess\u003c/a>. Since the pandemic, Princess has become San Francisco’s go-to destination for nationally touring drag performers and high-caliber local artists.\u003c/p>\n\u003cp>Whether a performer wants to levitate above the crowd using a scissor lift, pop confetti on cue with a beat drop or envelop the stage in plumes of fog, Oasis has the technical setup for the “wow” moments fans crave. “It wasn’t until I started doing drag in San Francisco and found Oasis that I realized, this is where I need to be, this is where I can flourish,” says Soto, who had a past life as a theme-park designer in Los Angeles. “This venue gives me the capabilities to use all the tech I need in order to execute the vision that I want to put on a big drag spectacular.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Jan. 18, Princess party-goers will meet this year’s eight High Princx contestants, who include \u003ca href=\"https://www.instagram.com/jeteguevaraog/\">Jeté Guevara\u003c/a>, a veteran performer of 30 years with a rockstar energy; \u003ca href=\"https://www.instagram.com/sadiecreekwoodsparkles/\">Sadie Creekwood\u003c/a>, who pushes the limits of campy horror; and \u003ca href=\"https://www.instagram.com/pangaeas_planet/\">Pangaea\u003c/a>, a performance artist who delivers surrealist looks with a side of activism. Also gunning for the crown are \u003ca href=\"https://www.instagram.com/vicky.cristinabarcelona/\">Vicky Cristina Barcelona\u003c/a>, whose high-femme fashions often rep Puerto Rican pride; \u003ca href=\"https://www.instagram.com/itsmaryvice/\">Mary Vice\u003c/a>, a queen-about-town who hosts Pillows at Powerhouse and The Hot Boxxx Girls at Aunt Charlie’s; \u003ca href=\"https://www.instagram.com/elmasjota/\">Jota Mercury\u003c/a>, an award-winning drag king who “puts the cheese in machismo”; \u003ca href=\"https://www.instagram.com/themojocarter/\">Mojo Carter\u003c/a>, a rising star with a face to kill; and \u003ca href=\"https://www.instagram.com/delilahbefierce20/\">Delilah Befierce\u003c/a>, who goes all the way with her cosplayish ensembles (see: her recent glamorous take on the Grinch).\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We want to highlight all the different kinds of drag that you can see, and all different kinds of gender expression and mini scenes,” says Soto. “There’s many different ways of expressing the art form. So we make sure that our cast represents the whole amalgam.”\u003c/p>\n\u003cp>After delivering their best “creative presentation” runway looks and charming the audience during a Q&A portion, contestants will face off in a lip-sync battle on Jan. 18. The competition will continue with a high-stakes talent showcase on Jan. 25 where performers will pull out all the stops for the finale.\u003c/p>\n\u003cp>“They are allowed to tell their story, however they want to tell it, in their biggest and grandest and most impactful way,” Soto explains. “And that is the category with the most points.”\u003c/p>\n\u003cfigure id=\"attachment_13970359\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970359\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-scaled.jpg\" alt=\"Four drag artists pose in dramatic pink outfits. \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Tito-and-Hosts-Nicki-Kochina-and-Lisa-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Princess producer Tito Soto (center, seated) with High Princx Pageant hosts Kochina Rude, Nicki Jizz and Lisa Frankenstein (left to right). \u003ccite>(Chantel Beam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The star-studded judges’ panel includes acclaimed drag queen and environmentalist Pattie Gonia; Rock M Sakura, who repped San Francisco on \u003cem>RuPaul’s Drag Race\u003c/em> season 12; Oasis owner and San Francisco’s first Drag Laureate, \u003ca href=\"https://www.kqed.org/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub\">D’Arcy Drollinger\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">Juanita MORE!\u003c/a>, a local legend whose activist endeavors are only outnumbered by her many couture looks; Soto himself and more.\u003c/p>\n\u003cp>As far as what the judges are looking for? “I want my jaw on the floor,” says Nicki Jizz, who will host the first weekend and judge the second. “I want to see numbers that are moving, sad, funny, ridiculous — sometimes I want all of it at once.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to big hair, acrobatic choreography and surprise reveals, it’s likely that some performances will include social and political commentary — especially as the incoming presidential administration threatens to strip away trans rights. Over the past four years, Princess has become an avenue for activism on and off the stage. Each week, party co-host Kochina Rude gives a short talk about Narcan and safe partying, which inspired the city to create a \u003ca href=\"https://www.kqed.org/arts/13961839/drag-queens-overdose-prevention-narcan-san-francisco\">drag-powered overdose prevention campaign\u003c/a> led by Rude and Nicki Jizz.\u003c/p>\n\u003cp>“I think drag in the Bay Area is always pushing boundaries,” reflects Jizz on the art form’s growing influence. “It’s always evolving. It’s strong, it’s powerful and it can never be stopped.”\u003c/p>\n\u003cp>It’s that sort of scene — with equal parts glamor and heart — that Soto wants the High Princx Pageant to nurture.\u003c/p>\n\u003cp>“When so many people that care so much about the community work together in their own ways to uplift each other,” he says, “then you see the magic happen.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The High Princx Pageant gets underway at Oasis Jan. 18 and 25. \u003ca href=\"https://www.eventbrite.com/e/the-high-princx-pageant-2025-w-pattie-gonia-118-tickets-1070807848099\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nea-grants-list-of-sf-bay-area-organizations-receiving-grants-in-2025",
"title": "NEA Awards $2.5 Million in Grants to Bay Area Arts Organizations",
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"headTitle": "NEA Awards $2.5 Million in Grants to Bay Area Arts Organizations | KQED",
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},
"content": "\u003cp>\u003ca href=\"https://www.arts.gov/\">The National Endowment for the Arts\u003c/a> (NEA) has announced more than $2.5 million in 2025 grants to 88 different Bay Area arts organizations.\u003c/p>\n\u003cp>The largest grant in the region will go to San Francisco’s \u003ca href=\"https://www.bavc.org/\">Bay Area Video Coalition\u003c/a>, which was awarded $100,000 to support a \u003ca href=\"https://bavc.org/programs/mediamaker/\">fellowship for documentary filmmakers\u003c/a> and a \u003ca href=\"https://bavc.org/programs/preservation/preservation-access-program/\">film digitization and preservation program\u003c/a>. The second highest grant, totaling $85,000, will go to Oakland’s \u003ca href=\"https://designingjustice.org/\">Designing Justice + Designing Spaces\u003c/a>, a restorative justice organization that brings victims and offenders together.\u003c/p>\n\u003cp>Just days before a new administration takes office, widespread unease remains about the future of the NEA. During President Trump’s first term, he made annual attempts to eliminate NEA funding, categorizing both the NEA and the National Endowment for the Humanities (NEH) as “wasteful and unnecessary funding.” His attempts failed due to a bipartisan effort in Congress.\u003c/p>\n\u003cp>A full list of 2025’s Bay Area recipients is below, organized alphabetically by city.\u003c/p>\n\u003ch2>Berkeley\u003c/h2>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/spark/axis-dance-company/\">AXIS Dance Company\u003c/a>\u003cbr>\n$40,000\u003cbr>\nPurpose: To support AXIS’s national tour of dance performances and engagement activities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/berkeley-rep\">Berkeley Repertory Theatre\u003c/a>\u003cbr>\n$40,000\u003cbr>\nPurpose: To support the creation, development, and production of new work in the Ground Floor program.\u003c/p>\n\u003cp>City of Berkeley, California\u003cbr>\n$40,000\u003cbr>\nPurpose: To support a competitive grant program for nonprofit organizations.\u003c/p>\n\u003cp>Mahea Uchiyama Center for International Dance\u003cbr>\n$25,000\u003cbr>\nPurpose: To support the development and presentation of \u003cem>Popoloheno – Songs of Resilience and Joy\u003c/em>.\u003c/p>\n\u003cp>National Film Preserve, Ltd. (\u003ca href=\"https://www.kqed.org/forum/201108221000/first-person-tom-luddy\">Telluride Film Festival\u003c/a>)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support community and education initiatives at the Telluride Film Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967867/oaktown-jazz-workshops-30th-anniversary-yoshis\">Oaktown Jazz Workshops\u003c/a>\u003cbr>\n$10,000\u003cbr>\nPurpose: To support a series of jazz concerts in Oakland public libraries.\u003c/p>\n\u003cp>Regents of the \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">University of California, Berkeley\u003c/a> (on behalf of \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>)\u003cbr>\n$40,000\u003cbr>\nPurpose: To support an exhibition exploring African American quiltmaking traditions in California and related programming.\u003c/p>\n\u003cp>Transit Books\u003cbr>\n$40,000\u003cbr>\nPurpose: To support the publication and promotion of books of fiction, nonfiction, and children’s literature, including work in translation.\u003c/p>\n\u003ch2>Burlingame\u003c/h2>\n\u003cp>Kids & Art Foundation\u003cbr>\n$10,000\u003cbr>\nPurpose: To support healing arts workshops for pediatric cancer patients and their families.\u003c/p>\n\u003ch2>Campbell\u003c/h2>\n\u003cp>Local Color\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the Mural Museum, a collaborative community-based public art initiative.\u003c/p>\n\u003ch2>Claremont\u003c/h2>\n\u003cp>Prageeta Sharma\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a creative writing fellowship.\u003c/p>\n\u003ch2>Monterey Park\u003c/h2>\n\u003cp>Vincent Price Art Museum Foundation\u003cbr>\n$40,000\u003cbr>\nPurpose: To support a retrospective exhibition on Mexican American altar maker, or Chicana altarista, Ofelia Esparza (b. 1932), and an accompanying catalogue.\u003c/p>\n\u003ch2>Oakland\u003c/h2>\n\u003cp>Artist Magnet Justice Alliance\u003cbr>\n$10,000\u003cbr>\nPurpose: To support the development and workshop production of an immersive opera.\u003c/p>\n\u003cp>Madeleine Cravens\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a creative writing fellowship.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13886700/artists-team-up-with-critical-resistance-to-make-prison-abolition-irresistible\">Designing Justice + Designing Spaces\u003c/a>\u003cbr>\n$85,000\u003cbr>\nPurpose: To support a participatory research and trauma-informed study exploring how the design of the built environment can support individual and collective healing for at-risk populations.\u003c/p>\n\u003cp>Diamano Coura West African Dance Co.\u003cbr>\n$30,000\u003cbr>\nPurpose: To support the Collage des Cultures Africaines festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/12794413/black-choreographers-festival-points-to-black-bodies-in-crisis\">Maurya Kerr\u003c/a>\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a creative writing fellowship.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/omnira-institute\">Omnira Institute\u003c/a>\u003cbr>\n$10,000\u003cbr>\nPurpose: To support the Black-Eyed Pea Festival, a celebration of Black music and art.\u003c/p>\n\u003cp>Open Architecture Collaborative, Inc.\u003cbr>\n$25,000\u003cbr>\nPurpose: To support Pathways to Equity, a leadership development program for community design practitioners.\u003c/p>\n\u003cp>Opera Cultura\u003cbr>\n$15,000\u003cbr>\nPurpose: To support performances of \u003cem>Cuentos\u003c/em>, an opera by composer and librettist Hector Armienta.\u003c/p>\n\u003cp>Piedmont Choirs (\u003ca href=\"https://www.kqed.org/news/11810062/zoom-choir-bay-area-childrens-choirs-keep-singing-through-coronavirus\">Piedmont East Bay Children’s Choirs\u003c/a>)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support a choral opera project.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/10306408/dancing-on-the-edge-a-secret-performance-by-bandaloop-on-the-marin-coast\">Project Bandaloop\u003c/a> (aka BANDALOOP)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the creation and presentation of \u003cem>FLOCK\u003c/em>, a vertical dance theater work with a multilingual score, with accompanying engagement activities.\u003c/p>\n\u003ch2>Redwood City\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/theatreworks-silicon-valley\">TheatreWorks Silicon Valley\u003c/a>\u003cbr>\n$10,000\u003cbr>\nPurpose: To support the Bay Area Core Writers Group\u003c/p>\n\u003ch2>San Anselmo\u003c/h2>\n\u003cp>Enriching Lives through Music\u003cbr>\n$30,000\u003cbr>\nPurpose: To support personnel costs for a free music composition program for students.\u003c/p>\n\u003cp>Whippoorwill Arts Inc\u003cbr>\n$25,000\u003cbr>\nPurpose: To support the Music aLIVE program, which will provide paid performance opportunities at non-traditional venues for professional roots musicians.\u003c/p>\n\u003ch2>San Francisco\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>\u003cbr>\n$30,000\u003cbr>\nPurpose: To support an orchestral performance project.\u003c/p>\n\u003cp>3rd i South Asian Independent Film\u003cbr>\n$15,000\u003cbr>\nPurpose: To support 3rd i Films’ San Francisco International South Asian Film Festival and associated public programming.\u003c/p>\n\u003cp>\u003ca href=\"https://video.kqed.org/video/alonzo-king-lines-ballet-deep-river-1petvj/\">Alonzo King LINES Ballet\u003c/a>\u003cbr>\n$20,000\u003cbr>\nPurpose: To support staff salaries and artist fees for the creation and presentation of a new work with choreography by Artistic Director Alonzo King.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/spark/a-c-t-s-blood-knot/\">American Conservatory Theatre\u003c/a> Foundation\u003cbr>\n$40,000\u003cbr>\nPurpose: To support actors’ salaries for the production of \u003cem>Co-Founders\u003c/em>, a new play with music by Adesha Adefela, Ryan Nicole Austin, and Beau Lewis.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/asian-art-museum\">Asian Art Museum\u003c/a> Foundation of San Francisco\u003cbr>\n$30,000\u003cbr>\nPurpose: To support an exhibition and associated programming that focuses on contemporary West Asian perspectives.\u003c/p>\n\u003cp>Asian Pacific Islander Cultural Center (APICC)\u003cbr>\n$50,000\u003cbr>\nPurpose: To support the United States of Asian America Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967077/indie-publishers-small-press-distribution-closure-litquake\">Aunt Lute Foundation\u003c/a>\u003cbr>\n$75,000\u003cbr>\nPurpose: To support the production and promotion of audiobooks, as well as updates to Aunt Lute Books’ database platform.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/americangraduate/2013/01/07/bay-area-video-coalition-bavc/\">Bay Area Video Coalition\u003c/a>, Inc. (BAVC)\u003cbr>\n$100,000\u003cbr>\nPurpose: To support the MediaMaker Fellowship and Preservation Access programs.\u003c/p>\n\u003cp>Bridge Live Arts\u003cbr>\n$12,000\u003cbr>\nPurpose: To support Bridge Live Arts’ dance and leadership festival.\u003c/p>\n\u003cp>California Lawyers for the Arts, Inc.\u003cbr>\n$45,000\u003cbr>\nPurpose: To support the statewide expansion of a creative workforce development program for formerly incarcerated individuals.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/canyon-cinema\">Canyon Cinema\u003c/a> Foundation\u003cbr>\n$20,000\u003cbr>\nPurpose: To support a curatorial fellowship, screening series, and national touring program of experimental film and video works.\u003c/p>\n\u003cp>Catapult Film Fund\u003cbr>\n$50,000\u003cbr>\nPurpose: To support year-round artist development programs for independent documentary\u003cbr>\nfilmmakers.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/bayareabites/tag/center-for-asian-american-media\">Center for Asian American Media\u003c/a> (CAAM)\u003cbr>\n$30,000\u003cbr>\nPurpose: To support CAAMFest, a media arts festival dedicated to Asian and Asian American cinematic works, and related public programming celebrating Asian American culture.\u003c/p>\n\u003cp>Center for the Art of Translation\u003cbr>\n$45,000\u003cbr>\nPurpose: To support the publication and promotion of international literature.\u003c/p>\n\u003cp>Circus Bella\u003cbr>\n$30,000\u003cbr>\nPurpose: To support Circus in the Parks.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/counterpulse\">CounterPulse\u003c/a>\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the Artist Residency and Commissioning program, which provides space and support for emerging and mid-career choreographers.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/11524242/cubacaribe-festival-takes-stock-a-year-into-the-great-cuban-thaw\">CubaCaribe\u003c/a>\u003cbr>\n$10,000\u003cbr>\nPurpose: To support the CubaCaribe Festival of Dance & Music.\u003c/p>\n\u003cp>Cultural Conservancy Sacred Land Foundation\u003cbr>\n$50,000\u003cbr>\nPurpose: To support the reconstruction and restoration of Native California traditional dance regalia.\u003c/p>\n\u003cp>Eldergivers\u003cbr>\n$20,000\u003cbr>\nPurpose: To support art classes and exhibition opportunities, with a focus for older adults.\u003c/p>\n\u003cp>Eyes and Ears Foundation (San Francisco International Arts Festival)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the San Francisco International Arts Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=N_LzBNES0nM\">Flyaway Productions\u003c/a>\u003cbr>\n$25,000\u003cbr>\nPurpose: To support the creation of a new work by choreographer Jo Kreiter.\u003c/p>\n\u003cp>Foglifter Press\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the publication of the literary journal Foglifter.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/frameline\">Frameline\u003c/a>\u003cbr>\n$20,000\u003cbr>\nPurpose: To support Frameline Voices, an online showcase of curated short films.\u003c/p>\n\u003cp>Friends of SCRAP, Inc (SCRAP)\u003cbr>\n$25,000\u003cbr>\nPurpose: To support SCRAP’s Sustainable Fashion Design program for underserved youth.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/gray-area\">Gray Area Foundation for the Arts\u003c/a>\u003cbr>\n$50,000\u003cbr>\nPurpose: To support the Gray Area Festival and associated programming focused on the intersection of arts and technology.\u003c/p>\n\u003cp>Gray Area Foundation for the Arts\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nPurpose: To support a mixed-methods study examining how new media artist training programs in the San Francisco Bay Area are using generative artificial intelligence (AI).\u003c/p>\n\u003cp>Patrick Holian\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a creative writing fellowship.\u003c/p>\n\u003cp>Jewish Film Institute\u003cbr>\n$25,000\u003cbr>\nPurpose: To support the \u003ca href=\"https://www.kqed.org/arts/tag/sf-jewish-film-festival\">San Francisco Jewish Film Festival\u003c/a> and related public programming.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/affiliate/kitchen-sisters\">Kitchen Sisters\u003c/a> Productions\u003cbr>\n$25,000\u003cbr>\nPurpose: To support production of \u003cem>The Keepers\u003c/em>, a podcast and multimedia series exploring the work of archivists, librarians, historians, curators, and collectors from around the world.\u003c/p>\n\u003cp>Kronos Performing Arts Association (\u003ca href=\"https://www.kqed.org/arts/13959879/sun-ra-kronos-quartet-outer-spaceways-incorporated-festival\">Kronos Quartet\u003c/a>)\u003cbr>\n$40,000\u003cbr>\nPurpose: To support the Kronos Festival.\u003c/p>\n\u003cp>Kulintang Arts (Kularts)\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the creation and presentation of \u003cem>Burden of Proof\u003c/em>, a new dance theater project exploring the colonial legacy of Pilipinx nurses in the United States.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13933283/undiscovered-sf-2023-filipino-culture-festival-food-hip-hop-anniversary-soma\">Kultivate Labs\u003c/a>\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the Balay Kreative Growth Masterclass Series.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/bayareabites/8779/mcsweeneys-san-francisco-panorama\">McSweeney’s\u003c/a> Literary Arts Fund\u003cbr>\n$25,000\u003cbr>\nPurpose: To support staff salaries for the publication of the literary journal McSweeney’s Quarterly Concern.\u003c/p>\n\u003cp>New Conservatory (\u003ca href=\"https://ww2.kqed.org/spark/new-conservatory-theatre-center/\">New Conservatory Theatre\u003c/a> Center)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the development and world premiere production of \u003cem>Simple Mexican Pleasures\u003c/em> by Eric Reyes Loo at New Conservatory Theatre Center.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/odc\">ODC\u003c/a>\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the creation and presentation of new works by Artistic Director \u003ca href=\"https://www.youtube.com/watch?v=9BhxAopIIcM\">Brenda Way\u003c/a>, Associate Choreographer Kimi Okada, and a guest artist.\u003c/p>\n\u003cp>ODC Theater\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the fourth annual State of Play Festival, and additional performances at ODC Theater.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13823269/an-operatic-pairing-about-troubled-relationships\">Opera Parallele\u003c/a>\u003cbr>\n$25,000\u003cbr>\nPurpose: To support the West Coast premiere of the reorchestrated version of \u003ca href=\"https://www.kqed.org/news/tag/harvey-milk\">\u003cem>Harvey Milk\u003c/em>\u003c/a> by composer Stewart Wallace and librettist Michael Korie.\u003c/p>\n\u003cp>Pocket Opera\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the creation and development of \u003cem>Hansel y Gretel: Una Aventura Operistica Animada!\u003c/em> an animated/live-action hybrid film of the opera \u003ca href=\"https://www.kqed.org/arts/13872372/before-gretel-hansel-exploring-the-real-life-history-of-the-fairytale\">\u003cem>Hansel and Gretel\u003c/em>\u003c/a> by composer Engelbert Humperdinck.\u003c/p>\n\u003cp>Jacques J. Rancourt\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a creative writing fellowship\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a>\u003cbr>\n$20,000\u003cbr>\nPurpose: To support a curated series of Spanish-language films and associated public programming.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sf-cinematheque\">San Francisco Cinematheque\u003c/a>\u003cbr>\n$25,000\u003cbr>\nPurpose: To support Crossroads, a festival dedicated to experimental film, video, and performance-based cinema.\u003c/p>\n\u003cp>San Francisco Contemporary Music Players (SFCMP)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support a contemporary music performance project featuring composer Tania León’s Indígena.\u003c/p>\n\u003cp>San Francisco Jazz Organization (\u003ca href=\"https://www.kqed.org/arts/tag/sfjazz\">SFJAZZ\u003c/a>)\u003cbr>\n$30,000\u003cbr>\nPurpose: To support the SFJAZZ Collective’s tour of new works inspired by the visual arts.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (\u003ca href=\"https://www.kqed.org/arts/tag/sfmoma\">SFMOMA\u003c/a>)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support a posthumous retrospective and an accompanying catalogue on artist \u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\">Ruth Asawa\u003c/a> (1926-2013).\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/forum/201307121000/hitting-a-high-note-with-the-stanford-jazz-festival\">Stanford Jazz Workshop\u003c/a> (SJW)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the Stanford Jazz Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/womens-audio-mission\">Women’s Audio Mission\u003c/a> (WAM)\u003cbr>\n$45,000\u003cbr>\nPurpose: To support Girls on the Mic, a free music and media arts training and mentorship program primarily with a focus on girls and gender-diverse youth.\u003c/p>\n\u003cp>World Arts West\u003cbr>\n$60,000\u003cbr>\nPurpose: To support the World Arts West Dance Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Arts & Events\u003c/a>\u003cbr>\n$50,000\u003cbr>\nPurpose: To support a series of multidisciplinary arts programs at the Yerba Buena Gardens Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/youth-speaks\">Youth Speaks, Inc.\u003c/a>\u003cbr>\n$45,000\u003cbr>\nPurpose: To support the Brave New Voices International Youth Poetry Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/10285539/san-franciscos-zyzzyva-turns-30-with-literary-aplomb\">ZYZZYVA, Inc\u003c/a>.\u003cbr>\n$12,500\u003cbr>\nPurpose: To support the publication and promotion of the journal ZYZZYVA.\u003c/p>\n\u003ch2>San Jose\u003c/h2>\n\u003cp>City of San Jose, California\u003cbr>\n$20,000\u003cbr>\nPurpose: To support an artist-led community engagement program.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/spark/opera-san-jose/\">Opera San Jose\u003c/a>, Inc.\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a new production of \u003cem>Zorro\u003c/em> by composer and librettist \u003ca href=\"https://www.kqed.org/arts/13898567/animated-opera-mi-camino-explores-the-pandemics-impact-on-farmworkers\">Hector Armienta\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/san-jose-jazz\">San Jose Jazz Society\u003c/a>\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the Latin Tropical stage of the San Jose Jazz Society’s Summer Fest.\u003c/p>\n\u003cp>San Jose Multicultural Artists Guild Inc. (aka SJMAG)\u003cbr>\n$10,000\u003cbr>\nPurpose: To support the production of the musical \u003cem>Crowns\u003c/em> by Regina Taylor.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/san-jose-museum-of-art\">San Jose Museum of Art\u003c/a> Association\u003cbr>\n$50,000\u003cbr>\nPurpose: To support the presentation of \u003cem>The Imaginative Landscape: Pao Houa Her\u003c/em>, an exhibition and catalogue.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/spark/san-jose-taiko/\">San Jose Taiko\u003c/a> Group, Inc.\u003cbr>\n$35,000\u003cbr>\nPurpose: To support the production of \u003cem>Taiko Town\u003c/em>, a series of online educational videos designed to share Asian American stories.\u003c/p>\n\u003ch2>San Mateo\u003c/h2>\n\u003cp>Zawaya\u003cbr>\n$10,000\u003cbr>\nPurpose: To support concert performances.\u003c/p>\n\u003ch2>San Rafael\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/marin-theatre-company\">Marin Shakespeare Company\u003c/a>\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the development and a chamber reading of a musical theater work based on \u003ca href=\"https://www.kqed.org/news/tag/rebecca-solnit\">Rebecca Solnit\u003c/a>‘s children’s book \u003cem>Cinderella Liberator\u003c/em>, in partnership with Lauren Gunderson.\u003c/p>\n\u003ch2>Saratoga\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13843657/bruce-munros-narnian-fantasies-light-up-montalvo-arts-center\">Montalvo Association\u003c/a> (Montalvo Arts Center)\u003cbr>\n$10,000\u003cbr>\nPurpose: To support a hybrid remote and on-site artist residency program at the Montalvo Arts Center.\u003c/p>\n\u003ch2>Sebastopol\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13960198/sebastopol-center-for-the-arts-reverberations-review\">Sebastopol Center for the Arts\u003c/a>\u003cbr>\n$30,000\u003cbr>\nPurpose: To support an artist residency program.\u003c/p>\n\u003cp>Voice of Roma (VOR)\u003cbr>\n$35,000\u003cbr>\nPurpose: To support the presentation of the Herdeljezi Roma Festival in multiple Romani communities across the United States.\u003c/p>\n\u003ch2>Stanford\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/stanford-university\">Stanford University\u003c/a>, Leland Stanford Junior University (on behalf of Stanford Live)\u003cbr>\n$45,000\u003cbr>\nPurpose: To support a series of performances at Stanford Live, with associated public engagement programs.\u003c/p>\n\u003ch2>Walnut Creek\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>California Symphony Orchestra, Inc. (a.k.a. \u003ca href=\"https://www.kqed.org/news/12002975/how-this-bay-area-conductors-mexican-roots-propelled-him-to-the-symphony\">California Symphony\u003c/a>)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the Young American Composer-in-Residence program.\u003c/p>\n\n",
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"excerpt": "While a second Trump term threatens the NEA, 88 Bay Area organizations will benefit from this year's grants.",
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"title": "A List of Bay Area Arts Orgs Receiving NEA Grants in 2025 | KQED",
"description": "While a second Trump term threatens the NEA, 88 Bay Area organizations will benefit from this year's grants.",
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"headline": "NEA Awards $2.5 Million in Grants to Bay Area Arts Organizations",
"datePublished": "2025-01-14T15:48:13-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.arts.gov/\">The National Endowment for the Arts\u003c/a> (NEA) has announced more than $2.5 million in 2025 grants to 88 different Bay Area arts organizations.\u003c/p>\n\u003cp>The largest grant in the region will go to San Francisco’s \u003ca href=\"https://www.bavc.org/\">Bay Area Video Coalition\u003c/a>, which was awarded $100,000 to support a \u003ca href=\"https://bavc.org/programs/mediamaker/\">fellowship for documentary filmmakers\u003c/a> and a \u003ca href=\"https://bavc.org/programs/preservation/preservation-access-program/\">film digitization and preservation program\u003c/a>. The second highest grant, totaling $85,000, will go to Oakland’s \u003ca href=\"https://designingjustice.org/\">Designing Justice + Designing Spaces\u003c/a>, a restorative justice organization that brings victims and offenders together.\u003c/p>\n\u003cp>Just days before a new administration takes office, widespread unease remains about the future of the NEA. During President Trump’s first term, he made annual attempts to eliminate NEA funding, categorizing both the NEA and the National Endowment for the Humanities (NEH) as “wasteful and unnecessary funding.” His attempts failed due to a bipartisan effort in Congress.\u003c/p>\n\u003cp>A full list of 2025’s Bay Area recipients is below, organized alphabetically by city.\u003c/p>\n\u003ch2>Berkeley\u003c/h2>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/spark/axis-dance-company/\">AXIS Dance Company\u003c/a>\u003cbr>\n$40,000\u003cbr>\nPurpose: To support AXIS’s national tour of dance performances and engagement activities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/berkeley-rep\">Berkeley Repertory Theatre\u003c/a>\u003cbr>\n$40,000\u003cbr>\nPurpose: To support the creation, development, and production of new work in the Ground Floor program.\u003c/p>\n\u003cp>City of Berkeley, California\u003cbr>\n$40,000\u003cbr>\nPurpose: To support a competitive grant program for nonprofit organizations.\u003c/p>\n\u003cp>Mahea Uchiyama Center for International Dance\u003cbr>\n$25,000\u003cbr>\nPurpose: To support the development and presentation of \u003cem>Popoloheno – Songs of Resilience and Joy\u003c/em>.\u003c/p>\n\u003cp>National Film Preserve, Ltd. (\u003ca href=\"https://www.kqed.org/forum/201108221000/first-person-tom-luddy\">Telluride Film Festival\u003c/a>)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support community and education initiatives at the Telluride Film Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967867/oaktown-jazz-workshops-30th-anniversary-yoshis\">Oaktown Jazz Workshops\u003c/a>\u003cbr>\n$10,000\u003cbr>\nPurpose: To support a series of jazz concerts in Oakland public libraries.\u003c/p>\n\u003cp>Regents of the \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">University of California, Berkeley\u003c/a> (on behalf of \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">Berkeley Art Museum and Pacific Film Archive\u003c/a>)\u003cbr>\n$40,000\u003cbr>\nPurpose: To support an exhibition exploring African American quiltmaking traditions in California and related programming.\u003c/p>\n\u003cp>Transit Books\u003cbr>\n$40,000\u003cbr>\nPurpose: To support the publication and promotion of books of fiction, nonfiction, and children’s literature, including work in translation.\u003c/p>\n\u003ch2>Burlingame\u003c/h2>\n\u003cp>Kids & Art Foundation\u003cbr>\n$10,000\u003cbr>\nPurpose: To support healing arts workshops for pediatric cancer patients and their families.\u003c/p>\n\u003ch2>Campbell\u003c/h2>\n\u003cp>Local Color\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the Mural Museum, a collaborative community-based public art initiative.\u003c/p>\n\u003ch2>Claremont\u003c/h2>\n\u003cp>Prageeta Sharma\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a creative writing fellowship.\u003c/p>\n\u003ch2>Monterey Park\u003c/h2>\n\u003cp>Vincent Price Art Museum Foundation\u003cbr>\n$40,000\u003cbr>\nPurpose: To support a retrospective exhibition on Mexican American altar maker, or Chicana altarista, Ofelia Esparza (b. 1932), and an accompanying catalogue.\u003c/p>\n\u003ch2>Oakland\u003c/h2>\n\u003cp>Artist Magnet Justice Alliance\u003cbr>\n$10,000\u003cbr>\nPurpose: To support the development and workshop production of an immersive opera.\u003c/p>\n\u003cp>Madeleine Cravens\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a creative writing fellowship.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13886700/artists-team-up-with-critical-resistance-to-make-prison-abolition-irresistible\">Designing Justice + Designing Spaces\u003c/a>\u003cbr>\n$85,000\u003cbr>\nPurpose: To support a participatory research and trauma-informed study exploring how the design of the built environment can support individual and collective healing for at-risk populations.\u003c/p>\n\u003cp>Diamano Coura West African Dance Co.\u003cbr>\n$30,000\u003cbr>\nPurpose: To support the Collage des Cultures Africaines festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/12794413/black-choreographers-festival-points-to-black-bodies-in-crisis\">Maurya Kerr\u003c/a>\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a creative writing fellowship.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/omnira-institute\">Omnira Institute\u003c/a>\u003cbr>\n$10,000\u003cbr>\nPurpose: To support the Black-Eyed Pea Festival, a celebration of Black music and art.\u003c/p>\n\u003cp>Open Architecture Collaborative, Inc.\u003cbr>\n$25,000\u003cbr>\nPurpose: To support Pathways to Equity, a leadership development program for community design practitioners.\u003c/p>\n\u003cp>Opera Cultura\u003cbr>\n$15,000\u003cbr>\nPurpose: To support performances of \u003cem>Cuentos\u003c/em>, an opera by composer and librettist Hector Armienta.\u003c/p>\n\u003cp>Piedmont Choirs (\u003ca href=\"https://www.kqed.org/news/11810062/zoom-choir-bay-area-childrens-choirs-keep-singing-through-coronavirus\">Piedmont East Bay Children’s Choirs\u003c/a>)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support a choral opera project.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/10306408/dancing-on-the-edge-a-secret-performance-by-bandaloop-on-the-marin-coast\">Project Bandaloop\u003c/a> (aka BANDALOOP)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the creation and presentation of \u003cem>FLOCK\u003c/em>, a vertical dance theater work with a multilingual score, with accompanying engagement activities.\u003c/p>\n\u003ch2>Redwood City\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/theatreworks-silicon-valley\">TheatreWorks Silicon Valley\u003c/a>\u003cbr>\n$10,000\u003cbr>\nPurpose: To support the Bay Area Core Writers Group\u003c/p>\n\u003ch2>San Anselmo\u003c/h2>\n\u003cp>Enriching Lives through Music\u003cbr>\n$30,000\u003cbr>\nPurpose: To support personnel costs for a free music composition program for students.\u003c/p>\n\u003cp>Whippoorwill Arts Inc\u003cbr>\n$25,000\u003cbr>\nPurpose: To support the Music aLIVE program, which will provide paid performance opportunities at non-traditional venues for professional roots musicians.\u003c/p>\n\u003ch2>San Francisco\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>\u003cbr>\n$30,000\u003cbr>\nPurpose: To support an orchestral performance project.\u003c/p>\n\u003cp>3rd i South Asian Independent Film\u003cbr>\n$15,000\u003cbr>\nPurpose: To support 3rd i Films’ San Francisco International South Asian Film Festival and associated public programming.\u003c/p>\n\u003cp>\u003ca href=\"https://video.kqed.org/video/alonzo-king-lines-ballet-deep-river-1petvj/\">Alonzo King LINES Ballet\u003c/a>\u003cbr>\n$20,000\u003cbr>\nPurpose: To support staff salaries and artist fees for the creation and presentation of a new work with choreography by Artistic Director Alonzo King.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/spark/a-c-t-s-blood-knot/\">American Conservatory Theatre\u003c/a> Foundation\u003cbr>\n$40,000\u003cbr>\nPurpose: To support actors’ salaries for the production of \u003cem>Co-Founders\u003c/em>, a new play with music by Adesha Adefela, Ryan Nicole Austin, and Beau Lewis.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/asian-art-museum\">Asian Art Museum\u003c/a> Foundation of San Francisco\u003cbr>\n$30,000\u003cbr>\nPurpose: To support an exhibition and associated programming that focuses on contemporary West Asian perspectives.\u003c/p>\n\u003cp>Asian Pacific Islander Cultural Center (APICC)\u003cbr>\n$50,000\u003cbr>\nPurpose: To support the United States of Asian America Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967077/indie-publishers-small-press-distribution-closure-litquake\">Aunt Lute Foundation\u003c/a>\u003cbr>\n$75,000\u003cbr>\nPurpose: To support the production and promotion of audiobooks, as well as updates to Aunt Lute Books’ database platform.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/americangraduate/2013/01/07/bay-area-video-coalition-bavc/\">Bay Area Video Coalition\u003c/a>, Inc. (BAVC)\u003cbr>\n$100,000\u003cbr>\nPurpose: To support the MediaMaker Fellowship and Preservation Access programs.\u003c/p>\n\u003cp>Bridge Live Arts\u003cbr>\n$12,000\u003cbr>\nPurpose: To support Bridge Live Arts’ dance and leadership festival.\u003c/p>\n\u003cp>California Lawyers for the Arts, Inc.\u003cbr>\n$45,000\u003cbr>\nPurpose: To support the statewide expansion of a creative workforce development program for formerly incarcerated individuals.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/canyon-cinema\">Canyon Cinema\u003c/a> Foundation\u003cbr>\n$20,000\u003cbr>\nPurpose: To support a curatorial fellowship, screening series, and national touring program of experimental film and video works.\u003c/p>\n\u003cp>Catapult Film Fund\u003cbr>\n$50,000\u003cbr>\nPurpose: To support year-round artist development programs for independent documentary\u003cbr>\nfilmmakers.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/bayareabites/tag/center-for-asian-american-media\">Center for Asian American Media\u003c/a> (CAAM)\u003cbr>\n$30,000\u003cbr>\nPurpose: To support CAAMFest, a media arts festival dedicated to Asian and Asian American cinematic works, and related public programming celebrating Asian American culture.\u003c/p>\n\u003cp>Center for the Art of Translation\u003cbr>\n$45,000\u003cbr>\nPurpose: To support the publication and promotion of international literature.\u003c/p>\n\u003cp>Circus Bella\u003cbr>\n$30,000\u003cbr>\nPurpose: To support Circus in the Parks.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/counterpulse\">CounterPulse\u003c/a>\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the Artist Residency and Commissioning program, which provides space and support for emerging and mid-career choreographers.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/11524242/cubacaribe-festival-takes-stock-a-year-into-the-great-cuban-thaw\">CubaCaribe\u003c/a>\u003cbr>\n$10,000\u003cbr>\nPurpose: To support the CubaCaribe Festival of Dance & Music.\u003c/p>\n\u003cp>Cultural Conservancy Sacred Land Foundation\u003cbr>\n$50,000\u003cbr>\nPurpose: To support the reconstruction and restoration of Native California traditional dance regalia.\u003c/p>\n\u003cp>Eldergivers\u003cbr>\n$20,000\u003cbr>\nPurpose: To support art classes and exhibition opportunities, with a focus for older adults.\u003c/p>\n\u003cp>Eyes and Ears Foundation (San Francisco International Arts Festival)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the San Francisco International Arts Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=N_LzBNES0nM\">Flyaway Productions\u003c/a>\u003cbr>\n$25,000\u003cbr>\nPurpose: To support the creation of a new work by choreographer Jo Kreiter.\u003c/p>\n\u003cp>Foglifter Press\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the publication of the literary journal Foglifter.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/frameline\">Frameline\u003c/a>\u003cbr>\n$20,000\u003cbr>\nPurpose: To support Frameline Voices, an online showcase of curated short films.\u003c/p>\n\u003cp>Friends of SCRAP, Inc (SCRAP)\u003cbr>\n$25,000\u003cbr>\nPurpose: To support SCRAP’s Sustainable Fashion Design program for underserved youth.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/gray-area\">Gray Area Foundation for the Arts\u003c/a>\u003cbr>\n$50,000\u003cbr>\nPurpose: To support the Gray Area Festival and associated programming focused on the intersection of arts and technology.\u003c/p>\n\u003cp>Gray Area Foundation for the Arts\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nPurpose: To support a mixed-methods study examining how new media artist training programs in the San Francisco Bay Area are using generative artificial intelligence (AI).\u003c/p>\n\u003cp>Patrick Holian\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a creative writing fellowship.\u003c/p>\n\u003cp>Jewish Film Institute\u003cbr>\n$25,000\u003cbr>\nPurpose: To support the \u003ca href=\"https://www.kqed.org/arts/tag/sf-jewish-film-festival\">San Francisco Jewish Film Festival\u003c/a> and related public programming.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/affiliate/kitchen-sisters\">Kitchen Sisters\u003c/a> Productions\u003cbr>\n$25,000\u003cbr>\nPurpose: To support production of \u003cem>The Keepers\u003c/em>, a podcast and multimedia series exploring the work of archivists, librarians, historians, curators, and collectors from around the world.\u003c/p>\n\u003cp>Kronos Performing Arts Association (\u003ca href=\"https://www.kqed.org/arts/13959879/sun-ra-kronos-quartet-outer-spaceways-incorporated-festival\">Kronos Quartet\u003c/a>)\u003cbr>\n$40,000\u003cbr>\nPurpose: To support the Kronos Festival.\u003c/p>\n\u003cp>Kulintang Arts (Kularts)\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the creation and presentation of \u003cem>Burden of Proof\u003c/em>, a new dance theater project exploring the colonial legacy of Pilipinx nurses in the United States.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13933283/undiscovered-sf-2023-filipino-culture-festival-food-hip-hop-anniversary-soma\">Kultivate Labs\u003c/a>\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the Balay Kreative Growth Masterclass Series.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/bayareabites/8779/mcsweeneys-san-francisco-panorama\">McSweeney’s\u003c/a> Literary Arts Fund\u003cbr>\n$25,000\u003cbr>\nPurpose: To support staff salaries for the publication of the literary journal McSweeney’s Quarterly Concern.\u003c/p>\n\u003cp>New Conservatory (\u003ca href=\"https://ww2.kqed.org/spark/new-conservatory-theatre-center/\">New Conservatory Theatre\u003c/a> Center)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the development and world premiere production of \u003cem>Simple Mexican Pleasures\u003c/em> by Eric Reyes Loo at New Conservatory Theatre Center.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/odc\">ODC\u003c/a>\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the creation and presentation of new works by Artistic Director \u003ca href=\"https://www.youtube.com/watch?v=9BhxAopIIcM\">Brenda Way\u003c/a>, Associate Choreographer Kimi Okada, and a guest artist.\u003c/p>\n\u003cp>ODC Theater\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the fourth annual State of Play Festival, and additional performances at ODC Theater.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13823269/an-operatic-pairing-about-troubled-relationships\">Opera Parallele\u003c/a>\u003cbr>\n$25,000\u003cbr>\nPurpose: To support the West Coast premiere of the reorchestrated version of \u003ca href=\"https://www.kqed.org/news/tag/harvey-milk\">\u003cem>Harvey Milk\u003c/em>\u003c/a> by composer Stewart Wallace and librettist Michael Korie.\u003c/p>\n\u003cp>Pocket Opera\u003cbr>\n$15,000\u003cbr>\nPurpose: To support the creation and development of \u003cem>Hansel y Gretel: Una Aventura Operistica Animada!\u003c/em> an animated/live-action hybrid film of the opera \u003ca href=\"https://www.kqed.org/arts/13872372/before-gretel-hansel-exploring-the-real-life-history-of-the-fairytale\">\u003cem>Hansel and Gretel\u003c/em>\u003c/a> by composer Engelbert Humperdinck.\u003c/p>\n\u003cp>Jacques J. Rancourt\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a creative writing fellowship\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie Theater\u003c/a>\u003cbr>\n$20,000\u003cbr>\nPurpose: To support a curated series of Spanish-language films and associated public programming.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sf-cinematheque\">San Francisco Cinematheque\u003c/a>\u003cbr>\n$25,000\u003cbr>\nPurpose: To support Crossroads, a festival dedicated to experimental film, video, and performance-based cinema.\u003c/p>\n\u003cp>San Francisco Contemporary Music Players (SFCMP)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support a contemporary music performance project featuring composer Tania León’s Indígena.\u003c/p>\n\u003cp>San Francisco Jazz Organization (\u003ca href=\"https://www.kqed.org/arts/tag/sfjazz\">SFJAZZ\u003c/a>)\u003cbr>\n$30,000\u003cbr>\nPurpose: To support the SFJAZZ Collective’s tour of new works inspired by the visual arts.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (\u003ca href=\"https://www.kqed.org/arts/tag/sfmoma\">SFMOMA\u003c/a>)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support a posthumous retrospective and an accompanying catalogue on artist \u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\">Ruth Asawa\u003c/a> (1926-2013).\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/forum/201307121000/hitting-a-high-note-with-the-stanford-jazz-festival\">Stanford Jazz Workshop\u003c/a> (SJW)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the Stanford Jazz Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/womens-audio-mission\">Women’s Audio Mission\u003c/a> (WAM)\u003cbr>\n$45,000\u003cbr>\nPurpose: To support Girls on the Mic, a free music and media arts training and mentorship program primarily with a focus on girls and gender-diverse youth.\u003c/p>\n\u003cp>World Arts West\u003cbr>\n$60,000\u003cbr>\nPurpose: To support the World Arts West Dance Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Arts & Events\u003c/a>\u003cbr>\n$50,000\u003cbr>\nPurpose: To support a series of multidisciplinary arts programs at the Yerba Buena Gardens Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/youth-speaks\">Youth Speaks, Inc.\u003c/a>\u003cbr>\n$45,000\u003cbr>\nPurpose: To support the Brave New Voices International Youth Poetry Festival.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/10285539/san-franciscos-zyzzyva-turns-30-with-literary-aplomb\">ZYZZYVA, Inc\u003c/a>.\u003cbr>\n$12,500\u003cbr>\nPurpose: To support the publication and promotion of the journal ZYZZYVA.\u003c/p>\n\u003ch2>San Jose\u003c/h2>\n\u003cp>City of San Jose, California\u003cbr>\n$20,000\u003cbr>\nPurpose: To support an artist-led community engagement program.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/spark/opera-san-jose/\">Opera San Jose\u003c/a>, Inc.\u003cbr>\n$25,000\u003cbr>\nPurpose: To support a new production of \u003cem>Zorro\u003c/em> by composer and librettist \u003ca href=\"https://www.kqed.org/arts/13898567/animated-opera-mi-camino-explores-the-pandemics-impact-on-farmworkers\">Hector Armienta\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/san-jose-jazz\">San Jose Jazz Society\u003c/a>\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the Latin Tropical stage of the San Jose Jazz Society’s Summer Fest.\u003c/p>\n\u003cp>San Jose Multicultural Artists Guild Inc. (aka SJMAG)\u003cbr>\n$10,000\u003cbr>\nPurpose: To support the production of the musical \u003cem>Crowns\u003c/em> by Regina Taylor.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/san-jose-museum-of-art\">San Jose Museum of Art\u003c/a> Association\u003cbr>\n$50,000\u003cbr>\nPurpose: To support the presentation of \u003cem>The Imaginative Landscape: Pao Houa Her\u003c/em>, an exhibition and catalogue.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/spark/san-jose-taiko/\">San Jose Taiko\u003c/a> Group, Inc.\u003cbr>\n$35,000\u003cbr>\nPurpose: To support the production of \u003cem>Taiko Town\u003c/em>, a series of online educational videos designed to share Asian American stories.\u003c/p>\n\u003ch2>San Mateo\u003c/h2>\n\u003cp>Zawaya\u003cbr>\n$10,000\u003cbr>\nPurpose: To support concert performances.\u003c/p>\n\u003ch2>San Rafael\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/marin-theatre-company\">Marin Shakespeare Company\u003c/a>\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the development and a chamber reading of a musical theater work based on \u003ca href=\"https://www.kqed.org/news/tag/rebecca-solnit\">Rebecca Solnit\u003c/a>‘s children’s book \u003cem>Cinderella Liberator\u003c/em>, in partnership with Lauren Gunderson.\u003c/p>\n\u003ch2>Saratoga\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13843657/bruce-munros-narnian-fantasies-light-up-montalvo-arts-center\">Montalvo Association\u003c/a> (Montalvo Arts Center)\u003cbr>\n$10,000\u003cbr>\nPurpose: To support a hybrid remote and on-site artist residency program at the Montalvo Arts Center.\u003c/p>\n\u003ch2>Sebastopol\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13960198/sebastopol-center-for-the-arts-reverberations-review\">Sebastopol Center for the Arts\u003c/a>\u003cbr>\n$30,000\u003cbr>\nPurpose: To support an artist residency program.\u003c/p>\n\u003cp>Voice of Roma (VOR)\u003cbr>\n$35,000\u003cbr>\nPurpose: To support the presentation of the Herdeljezi Roma Festival in multiple Romani communities across the United States.\u003c/p>\n\u003ch2>Stanford\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/stanford-university\">Stanford University\u003c/a>, Leland Stanford Junior University (on behalf of Stanford Live)\u003cbr>\n$45,000\u003cbr>\nPurpose: To support a series of performances at Stanford Live, with associated public engagement programs.\u003c/p>\n\u003ch2>Walnut Creek\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>California Symphony Orchestra, Inc. (a.k.a. \u003ca href=\"https://www.kqed.org/news/12002975/how-this-bay-area-conductors-mexican-roots-propelled-him-to-the-symphony\">California Symphony\u003c/a>)\u003cbr>\n$20,000\u003cbr>\nPurpose: To support the Young American Composer-in-Residence program.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-thousand-ships-oakland-theater-project-marcus-gardley-review",
"title": "Formidable Black Women Lead an Epic Theatrical Saga in ‘A Thousand Ships’",
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"headTitle": "Formidable Black Women Lead an Epic Theatrical Saga in ‘A Thousand Ships’ | KQED",
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"content": "\u003cp>Walking into Oakland Theater Project’s \u003ca href=\"https://oaklandtheaterproject.org/ships\">\u003cem>A Thousand Ships\u003c/em>\u003c/a> is like walking into an Oakland neighborhood hair salon just before business hours. Quite literally, in fact. The intimate set — designed by Randy Wong-Westbrooke and sumptuously lit by Dr. Stephanie Anne Johnson — encloses the assembled audience within the salon’s interior. Leatherette-covered swivel chairs extend into the seating arrangements. An assortment of framed photographs of notable Black women adorn the walls, spiraling around a small sandpit in the center of the room. This sandpit grounds the action from scene to scene — from 1944 to 2008 — from the banks of a baptismal river to the last car of a West-bound train. [aside postid='arts_13968828']\u003c/p>\n\u003cp>This ever-present sand shifting beneath the feet of the actors provides a tangible symbol for so many of the play’s fleeting themes. Of arrival and departure. Of baptism and beauty. Of being cast upon a foreign shore and made to work the land. Of the longing to reclaim a piece of land lost for oneself.\u003c/p>\n\u003cp>There must have been a moment during the development of Marcus Gardley’s script for \u003cem>A Thousand Ships\u003c/em> when its current storyline emerged — as it’s quite a departure from the original concept that garnered it a Hewlett 50 Arts Commission (in association with \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">Cal Shakes\u003c/a>) in 2017. That production promised to revisit the Richmond shipyards during World War II through oral history and vernacular music, a concept Gardley explored in \u003cem>This World in a Woman’s Hands\u003c/em>, produced by Shotgun Players in 2009. But while there’s a single scene in the play that does take place in the shipyards (with choreography by Latanya d. Tigner and music by longtime Gardley collaborator Molly Holm), this play is mainly centered around an Oakland salon on the brink of foreclosure — and the decades-long friendship between its co-owners.\u003c/p>\n\u003cfigure id=\"attachment_13969609\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969609\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-1536x1061.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-2048x1415.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-1920x1327.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dawn L. Troupe as Laney Melrose Durant in ‘A Thousand Ships’ at Oakland Theater Project. \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley’s work frequently blurs the lines between the earthly and the epic, and threads of the metaphysical are woven throughout this piece. At the top, Adrian Roberts as the Father of Water delivers a stately, poetic monologue ruminating on the nature of water and the cycles of history. The play’s matriarchs bestow blessings upon their kin that simultaneously reach into the past for inspiration yet call on an unwritten future. Like mythic ancestors, the two protagonists — Adeline Merritt Lake (Halili Knox), and Laney Melrose Durant (Dawn L. Troupe) — represent so much of Oakland even in their names alone. They’re everywomen who are both enchantingly 100% themselves, but also the culmination of those who came before them and those yet to be.\u003c/p>\n\u003cp>Knox and Troupe are equally charismatic, and their respective performances complement each other’s strengths (even if neither \u003cem>quite\u003c/em> pulls off a convincing octogenarian). But it might be Rolanda D. Bell who really steals the show as neighborhood gossip and unapologetic Republican, “First Lady” Bella Vista Montclair. From the instant she enters the room shaking a miniature tambourine, she grabs hold of our attention and does not let it go. Wonderfully worldly — yet deeply concerned with the matters of the spirit — Bell’s First Lady encompasses multitudes, and leaves an indelible impression.\u003c/p>\n\u003cfigure id=\"attachment_13969610\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-1536x1099.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-2048x1465.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-1920x1374.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Rolanda D. Bell as First Lady in ‘A Thousand Ships’ at Oakland Theater Project. \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhat less impactful, the play’s younger generation feel less fully realized as characters and more like filler foils for their storied elders. Two are Laney’s grown children — played by Sam Jackson and William Heartfield — and the third is First Lady’s personal assistant Dimond, played humorously by Jasmine Milan Williams, who exaggerates her character’s advancing pregnancy with much huffing and mincing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a disappointingly tepid embezzlement plot point that doesn’t really amp up the tension, and results in an even more lukewarm conflict between Jackson’s Laurel Durant Bancroft and Heartfield’s MacArthur Bancroft. It’s almost impossible to really root for either of them as written, although Jackson at least is given a transformative moment of music that hints at the emotional depths her character struggles to otherwise reveal.\u003c/p>\n\u003cfigure id=\"attachment_13969611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dawn L. Troupe (left) as Laney Melrose Durant, William Hartfield (center) as MacArthur Bancroft and Sam Jackson (right) as Laurel Durant Bancroft. \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It should be noted that despite the Dec. 15 show being originally billed as opening night, Oakland Theater Project made a last minute decision to extend their previews — but to still let press review that preview. So it’s to be expected that evident lags in momentum and memorization will be ironed out by their new official opening night, on Dec. 19. Director Michael Socrates Moran has been bringing Gardley’s work to life for ten years now, and has a keen ear for the distinctive rhythms of his work.\u003c/p>\n\u003cp>What will likely not be addressed for this run is the puzzling disconnect between the play’s elders and their heirs, who stand to inherit their legacy, but who feel ill-suited to bear that weight. I’d love to see Gardley revisit these characters again when they’re better prepared to step into their own power, and shape a narrative of their own. With ancestors as magnificent as Adeline and Laney, they’ll have a solid foundation to build from, and plenty of forward momentum.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://oaklandtheaterproject.org/ships\">A Thousand Ships\u003c/a>’ runs at Oakland Theater Project through Jan. 5. \u003c/em>\u003c/p>\n\n",
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"title": "Review: ‘A Thousand Ships’ at Oakland Theater Project | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walking into Oakland Theater Project’s \u003ca href=\"https://oaklandtheaterproject.org/ships\">\u003cem>A Thousand Ships\u003c/em>\u003c/a> is like walking into an Oakland neighborhood hair salon just before business hours. Quite literally, in fact. The intimate set — designed by Randy Wong-Westbrooke and sumptuously lit by Dr. Stephanie Anne Johnson — encloses the assembled audience within the salon’s interior. Leatherette-covered swivel chairs extend into the seating arrangements. An assortment of framed photographs of notable Black women adorn the walls, spiraling around a small sandpit in the center of the room. This sandpit grounds the action from scene to scene — from 1944 to 2008 — from the banks of a baptismal river to the last car of a West-bound train. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This ever-present sand shifting beneath the feet of the actors provides a tangible symbol for so many of the play’s fleeting themes. Of arrival and departure. Of baptism and beauty. Of being cast upon a foreign shore and made to work the land. Of the longing to reclaim a piece of land lost for oneself.\u003c/p>\n\u003cp>There must have been a moment during the development of Marcus Gardley’s script for \u003cem>A Thousand Ships\u003c/em> when its current storyline emerged — as it’s quite a departure from the original concept that garnered it a Hewlett 50 Arts Commission (in association with \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">Cal Shakes\u003c/a>) in 2017. That production promised to revisit the Richmond shipyards during World War II through oral history and vernacular music, a concept Gardley explored in \u003cem>This World in a Woman’s Hands\u003c/em>, produced by Shotgun Players in 2009. But while there’s a single scene in the play that does take place in the shipyards (with choreography by Latanya d. Tigner and music by longtime Gardley collaborator Molly Holm), this play is mainly centered around an Oakland salon on the brink of foreclosure — and the decades-long friendship between its co-owners.\u003c/p>\n\u003cfigure id=\"attachment_13969609\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969609\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-1536x1061.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-2048x1415.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_113-1920x1327.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dawn L. Troupe as Laney Melrose Durant in ‘A Thousand Ships’ at Oakland Theater Project. \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley’s work frequently blurs the lines between the earthly and the epic, and threads of the metaphysical are woven throughout this piece. At the top, Adrian Roberts as the Father of Water delivers a stately, poetic monologue ruminating on the nature of water and the cycles of history. The play’s matriarchs bestow blessings upon their kin that simultaneously reach into the past for inspiration yet call on an unwritten future. Like mythic ancestors, the two protagonists — Adeline Merritt Lake (Halili Knox), and Laney Melrose Durant (Dawn L. Troupe) — represent so much of Oakland even in their names alone. They’re everywomen who are both enchantingly 100% themselves, but also the culmination of those who came before them and those yet to be.\u003c/p>\n\u003cp>Knox and Troupe are equally charismatic, and their respective performances complement each other’s strengths (even if neither \u003cem>quite\u003c/em> pulls off a convincing octogenarian). But it might be Rolanda D. Bell who really steals the show as neighborhood gossip and unapologetic Republican, “First Lady” Bella Vista Montclair. From the instant she enters the room shaking a miniature tambourine, she grabs hold of our attention and does not let it go. Wonderfully worldly — yet deeply concerned with the matters of the spirit — Bell’s First Lady encompasses multitudes, and leaves an indelible impression.\u003c/p>\n\u003cfigure id=\"attachment_13969610\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-1536x1099.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-2048x1465.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_132-1-1920x1374.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Rolanda D. Bell as First Lady in ‘A Thousand Ships’ at Oakland Theater Project. \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhat less impactful, the play’s younger generation feel less fully realized as characters and more like filler foils for their storied elders. Two are Laney’s grown children — played by Sam Jackson and William Heartfield — and the third is First Lady’s personal assistant Dimond, played humorously by Jasmine Milan Williams, who exaggerates her character’s advancing pregnancy with much huffing and mincing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a disappointingly tepid embezzlement plot point that doesn’t really amp up the tension, and results in an even more lukewarm conflict between Jackson’s Laurel Durant Bancroft and Heartfield’s MacArthur Bancroft. It’s almost impossible to really root for either of them as written, although Jackson at least is given a transformative moment of music that hints at the emotional depths her character struggles to otherwise reveal.\u003c/p>\n\u003cfigure id=\"attachment_13969611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/1000_Ships_2024_197-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dawn L. Troupe (left) as Laney Melrose Durant, William Hartfield (center) as MacArthur Bancroft and Sam Jackson (right) as Laurel Durant Bancroft. \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It should be noted that despite the Dec. 15 show being originally billed as opening night, Oakland Theater Project made a last minute decision to extend their previews — but to still let press review that preview. So it’s to be expected that evident lags in momentum and memorization will be ironed out by their new official opening night, on Dec. 19. Director Michael Socrates Moran has been bringing Gardley’s work to life for ten years now, and has a keen ear for the distinctive rhythms of his work.\u003c/p>\n\u003cp>What will likely not be addressed for this run is the puzzling disconnect between the play’s elders and their heirs, who stand to inherit their legacy, but who feel ill-suited to bear that weight. I’d love to see Gardley revisit these characters again when they’re better prepared to step into their own power, and shape a narrative of their own. With ancestors as magnificent as Adeline and Laney, they’ll have a solid foundation to build from, and plenty of forward momentum.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://oaklandtheaterproject.org/ships\">A Thousand Ships\u003c/a>’ runs at Oakland Theater Project through Jan. 5. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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