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"disqusTitle": "How Theater Helps This HIV-Positive Grandmother Transform Lives",
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"content": "\u003cp>For decades, Cassandra Steptoe felt like she couldn’t talk about her HIV diagnosis with anyone.\u003c/p>\n\u003cp>\"I couldn't forgive myself for getting HIV,\" says Steptoe, who spent much of her early adult life in and out of jail for shoplifting and burglaries linked to her IV drug use. \"But someone told me a long time ago, if you are looking for a reason to feel shame, you can always find it. I learned to look for something else: forgiveness.\"\u003c/p>\n\u003cp>For Steptoe, now 59 and a grandmother, it wasn't until her 40s -- after decades of struggling with addiction -- that she finally completed a rehab program and committed to ongoing HIV treatment.\u003c/p>\n\u003cp>Today she talks openly about that experience onstage, as part of a theater project aimed at inspiring others. The quote about learning to forgive herself is part of an autobiographical monologue Steptoe wrote and performs in a San Francisco theater production of \u003ca href=\"https://www.facebook.com/MedeaProject/\" target=\"_blank\">The Medea Project: Theater for Incarcerated Women/HIV Circle\u003c/a>.\u003c/p>\n\u003cp>It was Steptoe's physician, \u003ca href=\"http://whp.ucsf.edu/about/team-members/edward-machtinger-m-d\">Dr. Edward Machtinger\u003c/a>, who first told her about the project. Established by playwright and director \u003ca href=\"http://www.culturalodyssey.org/v2/aboutus/rhodessa_bio.html\" target=\"_blank\">Rhodessa Jones\u003c/a> in 2008 as an extension of an improvisational production that draws on and explores the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15146105\" target=\"_blank\">experiences of jailed women\u003c/a>, the \"HIV Circle\" focuses on the experiences of women living with the AIDS virus.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The therapeutic aspect of the performance workshop is called \u003ca href=\"http://rtc.umn.edu/docs/pep_facguide.pdf\" target=\"_blank\">peer empowerment\u003c/a>, explains Machtinger, an internist and director of the Women's HIV Program at the University of California, San Francisco. The strength and healing Steptoe and others have gained from processing and sharing their stories this way is profound, he says — and can serve as a model for helping other patients deal with psychological trauma.\u003c/p>\n\u003cfigure id=\"attachment_164615\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-164615\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/03/RS18863_IMG_9455-qut.jpg\" alt=\"Cassandra Steptoe at the apartment she shares with her 8-year-old granddaughter in San Francisco. She credits The Medea Project with helping her improve her overall well-being.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra Steptoe at the apartment she shares with her 8-year-old granddaughter in San Francisco. She credits The Medea Project with helping her improve her overall well-being. \u003ccite>(Farida Jhabvala Romero / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Medications 'Not Enough'\u003c/strong>\u003c/p>\n\u003cp>With the theater group, Steptoe began writing about her experiences and sharing them with a small group of women, some of whom had gone through similar struggles of addiction and histories of incarceration. The process of uncovering her past and making sense of her experiences in a cathartic, supportive environment helped Steptoe end her feelings of isolation.\u003c/p>\n\u003cp>\"Having these women that really love you and support you ... it feels good to have some real friends, 'cause I never had that before,\" Steptoe says. \"We're all sharing something together 'cause we all get something out of everybody's story.\"\u003c/p>\n\u003cp>The potential of peer empowerment is not just anecdotal. Machtinger has \u003ca href=\"http://www.sciencedirect.com/science/article/pii/S1055329014000971\" target=\"_blank\">studied\u003c/a> the Medea Project's life-saving impact on his patients.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/256844757\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Machtinger says the patients in the Medea Project followed by his research team went through an extraordinary transformation. Many who had barely disclosed their HIV status to anyone when they began, became activists and leaders in their communities, helping to destigmatize HIV while pursuing personal goals and leading productive lives.\u003c/p>\n\u003cp>\"For them to develop what they described as \"sisterhood\" was the most important and most profound type of healing that I ever witnessed,\" Machtinger says.\u003c/p>\n\u003cp>He began seeking alternative methods to help his patients after increasingly noticing that a large proportion were successfully receiving antiretroviral treatment, but still dying from reasons that had \"nothing to do with HIV,\" such as murder, suicide or drug overdose.\u003c/p>\n\u003cp>\"They could have their HIV under control, (but) their lives were not getting better,\" Machtinger says. \"That was because their core issue -- a life of trauma and the impacts of depression, isolation and shame -- wasn’t being effectively addressed. And to us, that's not acceptable.\"\u003c/p>\n\u003cp>Machtinger's experience is reverberating beyond the Medea Project. He says witnessing and studying the impact of peer empowerment has helped inform a broader role. He is part of an advisory group helping to develop new guidelines for trauma-informed primary care for the federal Substance Abuse and Mental Health Services Administration.\u003c/p>\n\u003cp>The new guidelines will likely include a substantial focus on interventions with peer empowerment as one ingredient to help people with severe trauma heal, says Machtinger.\u003c/p>\n\u003cp>\"The core elements of the Medea Project are really lessons for other interventions to help people overcome trauma and other stigmatizing situations and conditions,\" says Machtinger, adding that childhood and adult trauma have been linked to a variety of illnesses, such as hepatitis C, heart disease and diabetes.\u003c/p>\n\u003cp>He expects the new guidelines for primary care clinics and other health providers to be finalized and published later this year.\u003c/p>\n\u003cp>\u003cstrong>Trauma at the Root of HIV Diagnosis\u003c/strong>\u003c/p>\n\u003cp>Steptoe now realizes she was infected with HIV through unprotected sex and sharing needles. She used to be addicted to heroin and cocaine. During a decades-long period of her life, she was in and out of the criminal justice system. She worked as a prostitute and survived abusive relationships -- getting beat up so badly one time that she spent three months recovering at a hospital, she said.\u003c/p>\n\u003cp>Steptoe says experiencing sexual abuse repeatedly as a child and teen led her on the path that eventually resulted in HIV infection.\u003c/p>\n\u003cp>\"Sexual abuse came from family,\" she says. \"And I guess I was kind of covering all that up by choosing the drugs. It kind of took me out there into the street, looking for love in the wrong places because I didn't have it at home. I started shooting drugs and that led into prostitution and to prison.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/stateofhealth/2012/03/20/trauma-fuels-hiv-epidemic-among-women/http://ww2.kqed.org/stateofhealth/2012/03/20/trauma-fuels-hiv-epidemic-among-women/\">Recent studies\u003c/a> show that HIV-positive women suffer disproportionately from high rates of trauma and post-traumatic stress disorder. The high rates of trauma also lead to increased risk of further spreading HIV, according to researchers.\u003c/p>\n\u003cp>\u003cstrong>Transforming Her Life\u003c/strong>\u003c/p>\n\u003cp>Now Steptoe is busy and full of energy. She takes antiretroviral medication religiously every morning, eats a healthy diet and works out by taking Zumba fitness classes at her gym.\u003c/p>\n\u003cp>Steptoe, a mother of three and grandmother of nine has also taken full custody of her 8-year-old granddaughter, who frequently accompanies her to rehearsals.\u003c/p>\n\u003cp>\"She teaches me how to love, and she gives me patience,\" says Steptoe, who also cares for other kids in her Mission apartment building.\u003c/p>\n\u003cp>Rhodessa Jones, the Medea Project's dynamic and energetic director, says Steptoe has flourished since she joined the organization, becoming a leader and inspiration to other women.\u003c/p>\n\u003cp>\"She’s so powerful, positive and forceful. She gets it,\" says Jones, who founded Medea more than 23 years ago. \"Theater has really been expressive therapy for her. It gives her a space to speak her truth.\"\u003c/p>\n\u003cfigure id=\"attachment_164614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-164614\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/03/RS18862_IMG_9445-qut.jpg\" alt='Performers at The Medea Project rehearse in San Francisco. Founder and director Rhodessa Jones, uses Greek, Roman and African mythology to introduce \"the universality of all of our stories.\"' width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Performers at The Medea Project rehearse in San Francisco. Founder and director Rhodessa Jones, uses Greek, Roman and African mythology to introduce \"the universality of all of our stories.\" \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Medea Project uses Greek, Roman and African mythology to introduce \"the universality of all of our stories,\" says Jones, who asked Steptoe to imagine going back in time to age 14 and write the lessons she would give herself. The result was Steptoe's piece \"Younger Self.\"\u003c/p>\n\u003cp>Steptoe wrote the piece, performed in January in San Francisco, about the moment in 1987 when she first found out she was HIV-positive. She was serving time in jail and received a health checkup.\u003c/p>\n\u003cp>\"My world crashed. I didn't have no education of what I had, I didn't have no support,\" says Steptoe, adding that she considered her condition \"a death sentence\" at the time. \"I had to relive that again by writing this because I needed to heal.\"\u003c/p>\n\u003cp>\u003cstrong>'HIV is a Health Condition, Not a Crime'\u003c/strong>\u003c/p>\n\u003cp>After receiving the diagnosis, she remembers crying at night with a pillow over her head so others wouldn't hear.\u003c/p>\n\u003cp>Steptoe then kept her HIV status a secret for many years.\u003c/p>\n\u003cp>But, years later, the key for her to find and use her voice was becoming a part of The Medea Project, she says. The main motivation for telling her story? She wants to give hope to others, and help them feel they are not alone.\u003c/p>\n\u003cp>\"Now I can tell the world that HIV is just a health condition, not a crime,\" says Steptoe, who doesn't hesitate to share her story as a lead actress for Medea in front of audiences of hundreds of people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"I don't have shame around it no more,” Steptoe says. “I let my grandkids know that even if you go the wrong way, you can still turn your life around.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, Cassandra Steptoe felt like she couldn’t talk about her HIV diagnosis with anyone.\u003c/p>\n\u003cp>\"I couldn't forgive myself for getting HIV,\" says Steptoe, who spent much of her early adult life in and out of jail for shoplifting and burglaries linked to her IV drug use. \"But someone told me a long time ago, if you are looking for a reason to feel shame, you can always find it. I learned to look for something else: forgiveness.\"\u003c/p>\n\u003cp>For Steptoe, now 59 and a grandmother, it wasn't until her 40s -- after decades of struggling with addiction -- that she finally completed a rehab program and committed to ongoing HIV treatment.\u003c/p>\n\u003cp>Today she talks openly about that experience onstage, as part of a theater project aimed at inspiring others. The quote about learning to forgive herself is part of an autobiographical monologue Steptoe wrote and performs in a San Francisco theater production of \u003ca href=\"https://www.facebook.com/MedeaProject/\" target=\"_blank\">The Medea Project: Theater for Incarcerated Women/HIV Circle\u003c/a>.\u003c/p>\n\u003cp>It was Steptoe's physician, \u003ca href=\"http://whp.ucsf.edu/about/team-members/edward-machtinger-m-d\">Dr. Edward Machtinger\u003c/a>, who first told her about the project. Established by playwright and director \u003ca href=\"http://www.culturalodyssey.org/v2/aboutus/rhodessa_bio.html\" target=\"_blank\">Rhodessa Jones\u003c/a> in 2008 as an extension of an improvisational production that draws on and explores the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15146105\" target=\"_blank\">experiences of jailed women\u003c/a>, the \"HIV Circle\" focuses on the experiences of women living with the AIDS virus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The therapeutic aspect of the performance workshop is called \u003ca href=\"http://rtc.umn.edu/docs/pep_facguide.pdf\" target=\"_blank\">peer empowerment\u003c/a>, explains Machtinger, an internist and director of the Women's HIV Program at the University of California, San Francisco. The strength and healing Steptoe and others have gained from processing and sharing their stories this way is profound, he says — and can serve as a model for helping other patients deal with psychological trauma.\u003c/p>\n\u003cfigure id=\"attachment_164615\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-164615\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/03/RS18863_IMG_9455-qut.jpg\" alt=\"Cassandra Steptoe at the apartment she shares with her 8-year-old granddaughter in San Francisco. She credits The Medea Project with helping her improve her overall well-being.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18863_IMG_9455-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra Steptoe at the apartment she shares with her 8-year-old granddaughter in San Francisco. She credits The Medea Project with helping her improve her overall well-being. \u003ccite>(Farida Jhabvala Romero / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Medications 'Not Enough'\u003c/strong>\u003c/p>\n\u003cp>With the theater group, Steptoe began writing about her experiences and sharing them with a small group of women, some of whom had gone through similar struggles of addiction and histories of incarceration. The process of uncovering her past and making sense of her experiences in a cathartic, supportive environment helped Steptoe end her feelings of isolation.\u003c/p>\n\u003cp>\"Having these women that really love you and support you ... it feels good to have some real friends, 'cause I never had that before,\" Steptoe says. \"We're all sharing something together 'cause we all get something out of everybody's story.\"\u003c/p>\n\u003cp>The potential of peer empowerment is not just anecdotal. Machtinger has \u003ca href=\"http://www.sciencedirect.com/science/article/pii/S1055329014000971\" target=\"_blank\">studied\u003c/a> the Medea Project's life-saving impact on his patients.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/256844757&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/256844757'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Machtinger says the patients in the Medea Project followed by his research team went through an extraordinary transformation. Many who had barely disclosed their HIV status to anyone when they began, became activists and leaders in their communities, helping to destigmatize HIV while pursuing personal goals and leading productive lives.\u003c/p>\n\u003cp>\"For them to develop what they described as \"sisterhood\" was the most important and most profound type of healing that I ever witnessed,\" Machtinger says.\u003c/p>\n\u003cp>He began seeking alternative methods to help his patients after increasingly noticing that a large proportion were successfully receiving antiretroviral treatment, but still dying from reasons that had \"nothing to do with HIV,\" such as murder, suicide or drug overdose.\u003c/p>\n\u003cp>\"They could have their HIV under control, (but) their lives were not getting better,\" Machtinger says. \"That was because their core issue -- a life of trauma and the impacts of depression, isolation and shame -- wasn’t being effectively addressed. And to us, that's not acceptable.\"\u003c/p>\n\u003cp>Machtinger's experience is reverberating beyond the Medea Project. He says witnessing and studying the impact of peer empowerment has helped inform a broader role. He is part of an advisory group helping to develop new guidelines for trauma-informed primary care for the federal Substance Abuse and Mental Health Services Administration.\u003c/p>\n\u003cp>The new guidelines will likely include a substantial focus on interventions with peer empowerment as one ingredient to help people with severe trauma heal, says Machtinger.\u003c/p>\n\u003cp>\"The core elements of the Medea Project are really lessons for other interventions to help people overcome trauma and other stigmatizing situations and conditions,\" says Machtinger, adding that childhood and adult trauma have been linked to a variety of illnesses, such as hepatitis C, heart disease and diabetes.\u003c/p>\n\u003cp>He expects the new guidelines for primary care clinics and other health providers to be finalized and published later this year.\u003c/p>\n\u003cp>\u003cstrong>Trauma at the Root of HIV Diagnosis\u003c/strong>\u003c/p>\n\u003cp>Steptoe now realizes she was infected with HIV through unprotected sex and sharing needles. She used to be addicted to heroin and cocaine. During a decades-long period of her life, she was in and out of the criminal justice system. She worked as a prostitute and survived abusive relationships -- getting beat up so badly one time that she spent three months recovering at a hospital, she said.\u003c/p>\n\u003cp>Steptoe says experiencing sexual abuse repeatedly as a child and teen led her on the path that eventually resulted in HIV infection.\u003c/p>\n\u003cp>\"Sexual abuse came from family,\" she says. \"And I guess I was kind of covering all that up by choosing the drugs. It kind of took me out there into the street, looking for love in the wrong places because I didn't have it at home. I started shooting drugs and that led into prostitution and to prison.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/stateofhealth/2012/03/20/trauma-fuels-hiv-epidemic-among-women/http://ww2.kqed.org/stateofhealth/2012/03/20/trauma-fuels-hiv-epidemic-among-women/\">Recent studies\u003c/a> show that HIV-positive women suffer disproportionately from high rates of trauma and post-traumatic stress disorder. The high rates of trauma also lead to increased risk of further spreading HIV, according to researchers.\u003c/p>\n\u003cp>\u003cstrong>Transforming Her Life\u003c/strong>\u003c/p>\n\u003cp>Now Steptoe is busy and full of energy. She takes antiretroviral medication religiously every morning, eats a healthy diet and works out by taking Zumba fitness classes at her gym.\u003c/p>\n\u003cp>Steptoe, a mother of three and grandmother of nine has also taken full custody of her 8-year-old granddaughter, who frequently accompanies her to rehearsals.\u003c/p>\n\u003cp>\"She teaches me how to love, and she gives me patience,\" says Steptoe, who also cares for other kids in her Mission apartment building.\u003c/p>\n\u003cp>Rhodessa Jones, the Medea Project's dynamic and energetic director, says Steptoe has flourished since she joined the organization, becoming a leader and inspiration to other women.\u003c/p>\n\u003cp>\"She’s so powerful, positive and forceful. She gets it,\" says Jones, who founded Medea more than 23 years ago. \"Theater has really been expressive therapy for her. It gives her a space to speak her truth.\"\u003c/p>\n\u003cfigure id=\"attachment_164614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-164614\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/03/RS18862_IMG_9445-qut.jpg\" alt='Performers at The Medea Project rehearse in San Francisco. Founder and director Rhodessa Jones, uses Greek, Roman and African mythology to introduce \"the universality of all of our stories.\"' width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/03/RS18862_IMG_9445-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Performers at The Medea Project rehearse in San Francisco. Founder and director Rhodessa Jones, uses Greek, Roman and African mythology to introduce \"the universality of all of our stories.\" \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Medea Project uses Greek, Roman and African mythology to introduce \"the universality of all of our stories,\" says Jones, who asked Steptoe to imagine going back in time to age 14 and write the lessons she would give herself. The result was Steptoe's piece \"Younger Self.\"\u003c/p>\n\u003cp>Steptoe wrote the piece, performed in January in San Francisco, about the moment in 1987 when she first found out she was HIV-positive. She was serving time in jail and received a health checkup.\u003c/p>\n\u003cp>\"My world crashed. I didn't have no education of what I had, I didn't have no support,\" says Steptoe, adding that she considered her condition \"a death sentence\" at the time. \"I had to relive that again by writing this because I needed to heal.\"\u003c/p>\n\u003cp>\u003cstrong>'HIV is a Health Condition, Not a Crime'\u003c/strong>\u003c/p>\n\u003cp>After receiving the diagnosis, she remembers crying at night with a pillow over her head so others wouldn't hear.\u003c/p>\n\u003cp>Steptoe then kept her HIV status a secret for many years.\u003c/p>\n\u003cp>But, years later, the key for her to find and use her voice was becoming a part of The Medea Project, she says. The main motivation for telling her story? She wants to give hope to others, and help them feel they are not alone.\u003c/p>\n\u003cp>\"Now I can tell the world that HIV is just a health condition, not a crime,\" says Steptoe, who doesn't hesitate to share her story as a lead actress for Medea in front of audiences of hundreds of people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I don't have shame around it no more,” Steptoe says. “I let my grandkids know that even if you go the wrong way, you can still turn your life around.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bay Area teens Jessica Hairston and Camille Schmitt have been learning a lot about identity lately, through experiences like watching Black Lives Matter co-founder, Alicia Garza, on Youtube videos and meeting former Black Panther Ericka Huggins in person.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aCIY3beL_Es\u003c/p>\n\u003cp>The video watching and in-person meetings have been part of the intensive study over the past few months, as they prepare to participate alongside around 40 other young people in an unusual show about violence and race.\u003c/p>\n\u003cp>Under the artistic direction of Sarah Crowell and Rashidi Omari of the Oakland-based youth arts organization, \u003ca href=\"http://www.destinyarts.org/\" target=\"_blank\" rel=\"noopener\">Destiny Arts Center\u003c/a>, in collaboration with Nicole Klaymoon of \u003ca href=\"http://embodimentproject.org\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a>, a hip hop dance theater company based in the Bay Area, \u003cem>Seed Language: A New Identity\u003c/em> is a documentary theater production. It features 10 interviews with Bay Area artists, activists and elders and aims to explore violence against people of color.\u003c/p>\n\u003cp>“One main theme is Black Lives Matter, but in the grand scheme of things, it’s about race and addressing the day to day issues,” says Hairston, 17, who embodies Garza, in the production. “The fact that we’re doing a show is healing,” Hairston says. “Being able to talk about the things that scare me is healing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>A transformative experience\u003c/strong>\u003c/p>\n\u003cp>For many of the participants involved in the show, transformation has been part of the process since the beginning. “What we are interested in is true transformation,” says Sarah Crowell, artistic director at Destiny Arts.\u003c/p>\n\u003cfigure id=\"attachment_11447556\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11447556\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-800x531.jpg\" alt=\"Seed Language: A New Identity has been two-years in the making and combines dance, song and documentary theatre.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Seed Language: A New Identity’ has been two years in the making and combines dance, song and documentary theater. \u003ccite>(Photo: Lauren Stevenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After studying Garza on Youtube, Hairston spoke with the activist’s friends to learn more about her subject. “They helped me see the mannerisms I don’t always spot on my own,” Hairston says. “She smiles when she talks.”\u003c/p>\n\u003cfigure id=\"attachment_11447557\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11447557 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-800x531.jpg\" alt=\"SeedLanguage-9\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Seed Language’ \u003ccite>(Photo: Lauren Stevenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmitt, who plays Huggins, was able to meet with the Black Panther Party member in person several times. Schmitt asked Huggins directly about a monologue she is performing in the show. “If I hadn’t had that conversation, the audience wouldn’t vibe,” Schmitt says. “You know, when you read paper, you can’t feel it as much as you can when you see the person who is talking.”\u003c/p>\n\u003cfigure id=\"attachment_11447558\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11447558 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-800x531.jpg\" alt=\"SeedLanguage-11\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Seed Language’ \u003ccite>(Photo: Lauren Stevenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmitt hopes \u003cem>Seed Language\u003c/em> will be hard-hitting. “The truth that we are speaking in the show is going to make people uncomfortable,” she says. “The truth and the uncomfortableness creates change.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.destinyarts.org/pages/press-release-seed-language/\" target=\"_blank\" rel=\"noopener\">Seed Language: A New Identity\u003c/a>\u003c/em> plays Friday, Mar. 25 – Sunday, Apr. 3 at Laney College, Oakland. There will also be a special performance on Saturday, Apr. 16 in collaboration with the American Conservatory Theater in San Francisco. Click \u003ca href=\"http://seedlanguage.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area teens Jessica Hairston and Camille Schmitt have been learning a lot about identity lately, through experiences like watching Black Lives Matter co-founder, Alicia Garza, on Youtube videos and meeting former Black Panther Ericka Huggins in person.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aCIY3beL_Es'\n title='//www.youtube.com/embed/aCIY3beL_Es'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The video watching and in-person meetings have been part of the intensive study over the past few months, as they prepare to participate alongside around 40 other young people in an unusual show about violence and race.\u003c/p>\n\u003cp>Under the artistic direction of Sarah Crowell and Rashidi Omari of the Oakland-based youth arts organization, \u003ca href=\"http://www.destinyarts.org/\" target=\"_blank\" rel=\"noopener\">Destiny Arts Center\u003c/a>, in collaboration with Nicole Klaymoon of \u003ca href=\"http://embodimentproject.org\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a>, a hip hop dance theater company based in the Bay Area, \u003cem>Seed Language: A New Identity\u003c/em> is a documentary theater production. It features 10 interviews with Bay Area artists, activists and elders and aims to explore violence against people of color.\u003c/p>\n\u003cp>“One main theme is Black Lives Matter, but in the grand scheme of things, it’s about race and addressing the day to day issues,” says Hairston, 17, who embodies Garza, in the production. “The fact that we’re doing a show is healing,” Hairston says. “Being able to talk about the things that scare me is healing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A transformative experience\u003c/strong>\u003c/p>\n\u003cp>For many of the participants involved in the show, transformation has been part of the process since the beginning. “What we are interested in is true transformation,” says Sarah Crowell, artistic director at Destiny Arts.\u003c/p>\n\u003cfigure id=\"attachment_11447556\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11447556\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-800x531.jpg\" alt=\"Seed Language: A New Identity has been two-years in the making and combines dance, song and documentary theatre.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-6-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Seed Language: A New Identity’ has been two years in the making and combines dance, song and documentary theater. \u003ccite>(Photo: Lauren Stevenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After studying Garza on Youtube, Hairston spoke with the activist’s friends to learn more about her subject. “They helped me see the mannerisms I don’t always spot on my own,” Hairston says. “She smiles when she talks.”\u003c/p>\n\u003cfigure id=\"attachment_11447557\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11447557 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-800x531.jpg\" alt=\"SeedLanguage-9\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-9-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Seed Language’ \u003ccite>(Photo: Lauren Stevenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmitt, who plays Huggins, was able to meet with the Black Panther Party member in person several times. Schmitt asked Huggins directly about a monologue she is performing in the show. “If I hadn’t had that conversation, the audience wouldn’t vibe,” Schmitt says. “You know, when you read paper, you can’t feel it as much as you can when you see the person who is talking.”\u003c/p>\n\u003cfigure id=\"attachment_11447558\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11447558 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-800x531.jpg\" alt=\"SeedLanguage-11\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SeedLanguage-11-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Seed Language’ \u003ccite>(Photo: Lauren Stevenson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schmitt hopes \u003cem>Seed Language\u003c/em> will be hard-hitting. “The truth that we are speaking in the show is going to make people uncomfortable,” she says. “The truth and the uncomfortableness creates change.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.destinyarts.org/pages/press-release-seed-language/\" target=\"_blank\" rel=\"noopener\">Seed Language: A New Identity\u003c/a>\u003c/em> plays Friday, Mar. 25 – Sunday, Apr. 3 at Laney College, Oakland. There will also be a special performance on Saturday, Apr. 16 in collaboration with the American Conservatory Theater in San Francisco. Click \u003ca href=\"http://seedlanguage.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Broadway smash \u003cem>Hamilton,\u003c/em> which has been cheered for reclaiming the nation’s founding story by a multicultural cast, has oddly come under fire for specifically seeking “nonwhite men and women” for upcoming roles in future versions.\u003c/p>\n\u003cp>That went too far for the Actors’ Equity Association union, which said Wednesday that the show’s language was not official or in compliance with their rules.\u003c/p>\n\u003cp>The show responded by saying it regretted the confusion and will amend the notice to add that “we welcome people of all ethnicities to audition.”\u003c/p>\n\u003cp>No such outcry was heard when the show was first being mounted, which called specifically for nonwhite actors to play the likes of Alexander Hamilton, George Washington, Aaron Burr, Thomas Jefferson and Eliza Hamilton. Only King George III was supposed to be filled by a white man.\u003cbr>\n\u003cem>\u003cbr>\nHamilton\u003c/em> producers said such a stance adheres to the accepted practice that certain characteristics in certain roles constitute a legal and “bona fide occupational qualification.” Other shows also cast with ethnicity in mind.\u003c/p>\n\u003cp>Since it opened off-Broadway last year, the show has been celebrated for putting minorities at the center of America’s birth. The show’s African-American, Asian and Latino actors have been cheered by President Barak Obama, British actress Helen Mirren and many others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The latest snag occurred when the show posted on its website a call for “nonwhite men and women, ages 20s to 30s, for Broadway and upcoming tours.” Equity, which usually reviews casting notices, said it had not in this case.\u003c/p>\n\u003cp>“Our audition rules are created to provide the broadest access possible for our members to be seen for roles,” the union said.\u003c/p>\n\u003cp>The show is by Lin-Manuel Miranda, who wrote the show’s book, music and lyrics, and stars in the title role. It stresses the orphan, immigrant roots of Hamilton and has a terrifically varied score, ranging from pop ballads to gospel to sexy R&B. A Chicago production will open this fall and a national tour will travel to San Francisco and then Los Angeles in 2017.\u003c/p>\n\u003cp>“\u003cem>Hamilton\u003c/em> depicts the birth of our nation in a singular way,” producer Jeffrey Seller said in a statement. “We will continue to cast the show with the same multicultural diversity that we have employed thus far.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Broadway smash \u003cem>Hamilton,\u003c/em> which has been cheered for reclaiming the nation’s founding story by a multicultural cast, has oddly come under fire for specifically seeking “nonwhite men and women” for upcoming roles in future versions.\u003c/p>\n\u003cp>That went too far for the Actors’ Equity Association union, which said Wednesday that the show’s language was not official or in compliance with their rules.\u003c/p>\n\u003cp>The show responded by saying it regretted the confusion and will amend the notice to add that “we welcome people of all ethnicities to audition.”\u003c/p>\n\u003cp>No such outcry was heard when the show was first being mounted, which called specifically for nonwhite actors to play the likes of Alexander Hamilton, George Washington, Aaron Burr, Thomas Jefferson and Eliza Hamilton. Only King George III was supposed to be filled by a white man.\u003cbr>\n\u003cem>\u003cbr>\nHamilton\u003c/em> producers said such a stance adheres to the accepted practice that certain characteristics in certain roles constitute a legal and “bona fide occupational qualification.” Other shows also cast with ethnicity in mind.\u003c/p>\n\u003cp>Since it opened off-Broadway last year, the show has been celebrated for putting minorities at the center of America’s birth. The show’s African-American, Asian and Latino actors have been cheered by President Barak Obama, British actress Helen Mirren and many others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The latest snag occurred when the show posted on its website a call for “nonwhite men and women, ages 20s to 30s, for Broadway and upcoming tours.” Equity, which usually reviews casting notices, said it had not in this case.\u003c/p>\n\u003cp>“Our audition rules are created to provide the broadest access possible for our members to be seen for roles,” the union said.\u003c/p>\n\u003cp>The show is by Lin-Manuel Miranda, who wrote the show’s book, music and lyrics, and stars in the title role. It stresses the orphan, immigrant roots of Hamilton and has a terrifically varied score, ranging from pop ballads to gospel to sexy R&B. A Chicago production will open this fall and a national tour will travel to San Francisco and then Los Angeles in 2017.\u003c/p>\n\u003cp>“\u003cem>Hamilton\u003c/em> depicts the birth of our nation in a singular way,” producer Jeffrey Seller said in a statement. “We will continue to cast the show with the same multicultural diversity that we have employed thus far.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Note\u003c/strong>: This review is of the 2016 production of ‘Deal With the Dragon.’ For info about the 2022 production at the Magic Theatre, \u003ca href=\"https://www.magictheatre.org/season/deal-with-the-dragon\" rel=\"noopener noreferrer\" target=\"_blank\">see here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Kevin Rolston’s one-man show, \u003cem>Deal with the Dragon\u003c/em>, doesn’t start big. It just kind of unfurls in front of you. There are no explanations or big scenes, and nothing that lets you easily gauge the scope and ambition of this strange, satisfying tale of emotional and spiritual ineptitude.\u003c/p>\n\u003cp>The play begins with art criticism of the most debased kind, as Brenn (Rolston), suave and of Germanic origin, finishes writing a Yelp review of one of those museum extravaganzas that tours the world — \u003cem>Treasures of the Louvre\u003c/em>. Rolston’s acting and M. Graham Smith’s direction are almost non-committal at this point. There’s a whiff of parody, of euro-aesthetes who find America both delightful and repulsive. Yet right from the start, you can sense the show resisting what it sets up. As if it were necessary for us to feel the caricature and reject it at the same time.\u003c/p>\n\u003cp>We soon find out that Brenn is also another recognizable type: the artist’s caretaker. He is the financial and emotional support for Hunter (Rolston again), a needy painter struggling to finish his masterwork and one of two finalists for a prestigious museum show. Brenn feeds Hunter fresh doughnuts, threatens his threatening bill collectors, and genuflects before his talent.\u003c/p>\n\u003cp>He’s the unsung hero of another man’s ambition, a rather common trope in the tortured artist genre. Robert Altman’s \u003cem>Vincent and Theo \u003c/em>might be the best examples of the idiom and John Logan’s preposterous take on Rothko, \u003cem>Red\u003c/em>, the worst. There are scores of other dramas that follow these lines and Rolston knows that. And he knows that we know, and even as he gives us that story in full bloom, it turns out to be far from the story that we’re going to get.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So instead of a drama of heroic creation, the play goes back in time — way back to 1574 — to explain whom Brenn is and to suggest that Hunter might have a more serious problem than a lack of artistic inspiration. You don’t have to be very alert to guess that Hunter’s soul is in peril, and that Brenn’s devil-may-care attitude might tend towards the Devil. What’s funny — for us, if not Hunter — is that Rolston jettisons one set of clichés, the tortured artist, to plunge us headlong into another: the Satanic pact.\u003c/p>\n\u003cp>Yet again, on all levels of the production — writing, acting, and directing — there’s a sly underplaying of these well-worn tales. Clichés demand a follow-though that \u003cem>Deal with the Dragon\u003c/em> wisely undermines, and so even though we know these stories, we have no idea where Rolston is going with them. The play remains disquietingly up in the air, much like the baobab tree — also commonly known as the devil tree — that hangs above the stage.\u003c/p>\n\u003cfigure id=\"attachment_11447429\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11447429 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/MG_7424-Edit-Edit.jpg\" alt=\"_MG_7424-Edit-Edit\" width=\"720\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/MG_7424-Edit-Edit.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/MG_7424-Edit-Edit-400x268.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Rolston (Gandy) breaks down in an AA meeting. Photo: Kenny Yun.\u003c/figcaption>\u003c/figure>\n\u003cp>That is until we meet Hunter’s competition for the museum show — Gandy Schwartz (again Rolston). He’s the last minute substitute speaker for an AA meeting. The only problem is that he’s not much of an alcoholic and more of narcotics man. Or as Gandy bluntly assesses the situation, “the real speaker flaked . . . so fucking deal!” What follows is an amazing tour de force of writing and acting — a comic and shocking scene of surprising, raw despair.\u003c/p>\n\u003cp>For a play that has daintily teetered between soap opera and fairy tale, \u003cem>Deal with the Dragon\u003c/em> suddenly snaps into the real world. We aren’t just watching anymore, but are instead part of the architecture of the scene, passive participants in the grand drama of an AA confessional. And yet we haven’t lost the rest of the play either. Everything that Gandy speaks of is a reflection of everything that we have seen before.\u003c/p>\n\u003cp>And so it turns out that nothing is really ever a cliché, even a man who seems to embody every single stereotype of a strung out, hostile queen. Rolston’s portrayal of Gandy is breathtaking and his AA rant is as good a 12 minutes as you are likely to get in a play this season. How Rolston works this all out is for your enjoyment. Although, rest assured, the tale of Brenn, Hunter, and Gandy twists and turns all the way to the end.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"DEAL WITH THE DRAGON trailer\" src=\"https://player.vimeo.com/video/155574872?dnt=1&app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Deal with the Dragon\u003c/em> plays through Saturday, Apr. 16 at ACT’s Costume Shop in San Francisco. For tickets and information go to dealwiththedragon.com.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Note\u003c/strong>: This review is of the 2016 production of ‘Deal With the Dragon.’ For info about the 2022 production at the Magic Theatre, \u003ca href=\"https://www.magictheatre.org/season/deal-with-the-dragon\" rel=\"noopener noreferrer\" target=\"_blank\">see here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Kevin Rolston’s one-man show, \u003cem>Deal with the Dragon\u003c/em>, doesn’t start big. It just kind of unfurls in front of you. There are no explanations or big scenes, and nothing that lets you easily gauge the scope and ambition of this strange, satisfying tale of emotional and spiritual ineptitude.\u003c/p>\n\u003cp>The play begins with art criticism of the most debased kind, as Brenn (Rolston), suave and of Germanic origin, finishes writing a Yelp review of one of those museum extravaganzas that tours the world — \u003cem>Treasures of the Louvre\u003c/em>. Rolston’s acting and M. Graham Smith’s direction are almost non-committal at this point. There’s a whiff of parody, of euro-aesthetes who find America both delightful and repulsive. Yet right from the start, you can sense the show resisting what it sets up. As if it were necessary for us to feel the caricature and reject it at the same time.\u003c/p>\n\u003cp>We soon find out that Brenn is also another recognizable type: the artist’s caretaker. He is the financial and emotional support for Hunter (Rolston again), a needy painter struggling to finish his masterwork and one of two finalists for a prestigious museum show. Brenn feeds Hunter fresh doughnuts, threatens his threatening bill collectors, and genuflects before his talent.\u003c/p>\n\u003cp>He’s the unsung hero of another man’s ambition, a rather common trope in the tortured artist genre. Robert Altman’s \u003cem>Vincent and Theo \u003c/em>might be the best examples of the idiom and John Logan’s preposterous take on Rothko, \u003cem>Red\u003c/em>, the worst. There are scores of other dramas that follow these lines and Rolston knows that. And he knows that we know, and even as he gives us that story in full bloom, it turns out to be far from the story that we’re going to get.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So instead of a drama of heroic creation, the play goes back in time — way back to 1574 — to explain whom Brenn is and to suggest that Hunter might have a more serious problem than a lack of artistic inspiration. You don’t have to be very alert to guess that Hunter’s soul is in peril, and that Brenn’s devil-may-care attitude might tend towards the Devil. What’s funny — for us, if not Hunter — is that Rolston jettisons one set of clichés, the tortured artist, to plunge us headlong into another: the Satanic pact.\u003c/p>\n\u003cp>Yet again, on all levels of the production — writing, acting, and directing — there’s a sly underplaying of these well-worn tales. Clichés demand a follow-though that \u003cem>Deal with the Dragon\u003c/em> wisely undermines, and so even though we know these stories, we have no idea where Rolston is going with them. The play remains disquietingly up in the air, much like the baobab tree — also commonly known as the devil tree — that hangs above the stage.\u003c/p>\n\u003cfigure id=\"attachment_11447429\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11447429 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/MG_7424-Edit-Edit.jpg\" alt=\"_MG_7424-Edit-Edit\" width=\"720\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/MG_7424-Edit-Edit.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/MG_7424-Edit-Edit-400x268.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Rolston (Gandy) breaks down in an AA meeting. Photo: Kenny Yun.\u003c/figcaption>\u003c/figure>\n\u003cp>That is until we meet Hunter’s competition for the museum show — Gandy Schwartz (again Rolston). He’s the last minute substitute speaker for an AA meeting. The only problem is that he’s not much of an alcoholic and more of narcotics man. Or as Gandy bluntly assesses the situation, “the real speaker flaked . . . so fucking deal!” What follows is an amazing tour de force of writing and acting — a comic and shocking scene of surprising, raw despair.\u003c/p>\n\u003cp>For a play that has daintily teetered between soap opera and fairy tale, \u003cem>Deal with the Dragon\u003c/em> suddenly snaps into the real world. We aren’t just watching anymore, but are instead part of the architecture of the scene, passive participants in the grand drama of an AA confessional. And yet we haven’t lost the rest of the play either. Everything that Gandy speaks of is a reflection of everything that we have seen before.\u003c/p>\n\u003cp>And so it turns out that nothing is really ever a cliché, even a man who seems to embody every single stereotype of a strung out, hostile queen. Rolston’s portrayal of Gandy is breathtaking and his AA rant is as good a 12 minutes as you are likely to get in a play this season. How Rolston works this all out is for your enjoyment. Although, rest assured, the tale of Brenn, Hunter, and Gandy twists and turns all the way to the end.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"DEAL WITH THE DRAGON trailer\" src=\"https://player.vimeo.com/video/155574872?dnt=1&app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Deal with the Dragon\u003c/em> plays through Saturday, Apr. 16 at ACT’s Costume Shop in San Francisco. For tickets and information go to dealwiththedragon.com.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "ACT's 'The Realistic Joneses' is Realistic, but not Realistic Enough",
"headTitle": "ACT’s ‘The Realistic Joneses’ is Realistic, but not Realistic Enough | KQED",
"content": "\u003cp>Andrew Boyce’s set for the American Conservatory Theater’s (ACT) production of Will Eno’s \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/the_realistic_joneses.html\" target=\"_blank\" rel=\"noopener\">The Realistic Joneses\u003c/a>\u003c/em> will make you yearn for suburbia — the quiet of the nights, the way a backyard can seem to be a forest in the dark. It conveys an appreciation for living in the moment that captures the best aspects of Eno’s play and work.\u003c/p>\n\u003cp>Eno has ascended from cult appreciation to major star in recent years. The dramatist has a deft touch with dialogue and possesses what critics and audiences often describe as a quirky sensibility. A light haze of absurdist humor hangs over all Eno’s plays, no matter how serious the subject matter. \u003cem>Tragedy: A Tragedy\u003c/em> is about the end of the world; \u003cem>The Flu Season\u003c/em>, insanity and suicide; \u003cem>The Open House\u003c/em>, the gradual disappearance of a family. And \u003cem>The Realistic Joneses\u003c/em> is about dying. Slowly.\u003c/p>\n\u003cp>You certainly feel the grandeur of Eno’s designs and aspirations in this drama. His characters’ concerns are everyday ones, but his viewpoint is cosmic. And that tension is what makes his work fascinating, if also somewhat unrealized and jerry-rigged.\u003c/p>\n\u003cp>\u003cem>The Realistic Joneses\u003c/em> begins in the dark and under the stars where we find a middle-aged couple, Bob and Jennifer Jones, sitting outdoors on their back patio, talking about nothing in particular. Then the Joneses’ trash cans tip over and the play tenses. They think it might be a skunk or raccoon, but we know better: it’s the neighbors, who also go by the name of Jones. Only these Joneses — John and Pony — are younger and a bit loopier. “We’re Joneses, too,” Pony enthusiastically exclaims in actress Allison Jean White’s hippy-chick twang.\u003c/p>\n\u003cfigure id=\"attachment_11431425\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11431425\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1.jpg\" alt=\"(L to R) John Jones (James Wagner) and his wife Pony (Allison Jean White) meet their new neighbors Jennifer Jones (Rebecca Watson) and her husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses playing at A.C.T.’s Geary Theater through April 3, 2016. Photo by Kevin Berne.\" width=\"600\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A meeting of Joneses: (L to R) John Jones (James Wagner) and his wife Pony (Allison Jean White) meet their new neighbors Jennifer Jones (Rebecca Watson) and her husband Bob Jones (Rod Gnapp). Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>What follows is a lovely scene of two couples with little in common besides a name, trying, to the best of their abilities, to make small talk. And because they don’t know each other, they’re forced into a disarming intimacy. John and Pony Jones both have to pee and their forays into the older Joneses’ bathrooms have the feel of a subtle and unnecessary violation. Eno is tricky in how he manages entrances and exits, and so the brief absence of one set of Joneses can trigger another a confession from the other. This is how we find out that Bob is sick with a degenerative disease.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Realistic Joneses\u003c/em> begins in a world of human concerns. All the Joneses want is to live as if they will live forever, to know that the next day will come as the one before it. And yet in various ways they all know that disaster is looming and that the world is closing in on them. It is a truly striking and promising first scene.\u003c/p>\n\u003cp>But for all of Eno’s gifts, he can’t see his way past this smart set-up. His vision is aligned with the universe — massive, mathematical, symmetrical, a never-ending parade of births and deaths. That’s fine; Sophocles felt the same way. But it feels as if his characters have adopted his beliefs, that they are a product of Eno’s philosophical system, rather than having and acting on their own sense of the world. In fact, in \u003cem>The Realistic Joneses\u003c/em> there is no sense of the world other than Eno’s machinations: we are stuck in a pattern, like the stars above us, and the play loses the force of any kind of conflict, anguish, and emotional development.\u003c/p>\n\u003cp>You can feel the problem in the very architecture of the play. It is not just Bob Jones who is dying, but the younger John Jones, too. And in the play’s only true irony, John is in a much more advanced stage of “Harriman Leavey Syndrome” — a made-up disease whose most pronounced symptom (when coupled with the right medicine) is a quirky sense of humor and a delightful loss of social propriety. These, rather aptly, are also the most recognizable qualities of Eno’s work. It’s as if he’s unconsciously created a disease that describes what’s wrong with his plays.\u003c/p>\n\u003cp>For most of the play, John makes little sense. And the same thing happens to Bob at the end, when he’s reached John’s stage of stand up comic dementia. I know he’s strung out on drugs, but I haven’t seen one drug ever make anyone that delightful. You can always see through the cracks, and they do not lead to an ordered universe. Eno does make gestures towards real pain. But the dominant mode here is one of deft, light entertainment. It feels like a cheat of what we know of the world and of the consequences Eno has set up but refused to embrace.\u003c/p>\n\u003cfigure id=\"attachment_11431555\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11431555\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web.jpg\" alt=\"Jennifer Jones (Rebecca Watson) and Bob Jones (Rod Gnapp) try to have a conversation about Bob’s deteriorating health in Will Eno’s The Realistic Joneses playing at A.C.T.’s Geary Theater through April 3, 2016. Photo by Kevin Berne.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Jones (Rebecca Watson) and Bob Jones (Rod Gnapp) wish for a return to everyday troubles. Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>There have been a lot of slow deaths in the theater — from 19th century stalwarts such as Dumas, fils’ \u003cem>The Lady of the Camellias\u003c/em> and Puccini’s \u003cem>La Bohème\u003c/em> to scores of 20th century meditations on cancer and AIDS. They run the generic gamut, from melodrama to lacerating satires. But none of them reduce the sickness itself to breezy, comic shtick. Rather, there’s a belief in the singularity of the soul and the body that holds it. We might be nothing more than a series of repetitions, one Jones after another, as Eno suggests. But each of us is particular and we struggle in our own particular ways. To deny the universe — the indifferent stars above us — is much more thrilling than the wry commentary and smart jokes of Eno’s incomplete realism.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Realistic Jones\u003c/em> plays through Sunday, Apr. 3 at ACT’s Geary Theater in San Francisco. For tickets and information, please go to http://www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Will Eno's new drama about four people who all share the same last name features wry commentary and smart jokes but somehow feels incomplete.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrew Boyce’s set for the American Conservatory Theater’s (ACT) production of Will Eno’s \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/the_realistic_joneses.html\" target=\"_blank\" rel=\"noopener\">The Realistic Joneses\u003c/a>\u003c/em> will make you yearn for suburbia — the quiet of the nights, the way a backyard can seem to be a forest in the dark. It conveys an appreciation for living in the moment that captures the best aspects of Eno’s play and work.\u003c/p>\n\u003cp>Eno has ascended from cult appreciation to major star in recent years. The dramatist has a deft touch with dialogue and possesses what critics and audiences often describe as a quirky sensibility. A light haze of absurdist humor hangs over all Eno’s plays, no matter how serious the subject matter. \u003cem>Tragedy: A Tragedy\u003c/em> is about the end of the world; \u003cem>The Flu Season\u003c/em>, insanity and suicide; \u003cem>The Open House\u003c/em>, the gradual disappearance of a family. And \u003cem>The Realistic Joneses\u003c/em> is about dying. Slowly.\u003c/p>\n\u003cp>You certainly feel the grandeur of Eno’s designs and aspirations in this drama. His characters’ concerns are everyday ones, but his viewpoint is cosmic. And that tension is what makes his work fascinating, if also somewhat unrealized and jerry-rigged.\u003c/p>\n\u003cp>\u003cem>The Realistic Joneses\u003c/em> begins in the dark and under the stars where we find a middle-aged couple, Bob and Jennifer Jones, sitting outdoors on their back patio, talking about nothing in particular. Then the Joneses’ trash cans tip over and the play tenses. They think it might be a skunk or raccoon, but we know better: it’s the neighbors, who also go by the name of Jones. Only these Joneses — John and Pony — are younger and a bit loopier. “We’re Joneses, too,” Pony enthusiastically exclaims in actress Allison Jean White’s hippy-chick twang.\u003c/p>\n\u003cfigure id=\"attachment_11431425\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11431425\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1.jpg\" alt=\"(L to R) John Jones (James Wagner) and his wife Pony (Allison Jean White) meet their new neighbors Jennifer Jones (Rebecca Watson) and her husband Bob Jones (Rod Gnapp) in Will Eno’s The Realistic Joneses playing at A.C.T.’s Geary Theater through April 3, 2016. Photo by Kevin Berne.\" width=\"600\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_01_web-1-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A meeting of Joneses: (L to R) John Jones (James Wagner) and his wife Pony (Allison Jean White) meet their new neighbors Jennifer Jones (Rebecca Watson) and her husband Bob Jones (Rod Gnapp). Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>What follows is a lovely scene of two couples with little in common besides a name, trying, to the best of their abilities, to make small talk. And because they don’t know each other, they’re forced into a disarming intimacy. John and Pony Jones both have to pee and their forays into the older Joneses’ bathrooms have the feel of a subtle and unnecessary violation. Eno is tricky in how he manages entrances and exits, and so the brief absence of one set of Joneses can trigger another a confession from the other. This is how we find out that Bob is sick with a degenerative disease.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Realistic Joneses\u003c/em> begins in a world of human concerns. All the Joneses want is to live as if they will live forever, to know that the next day will come as the one before it. And yet in various ways they all know that disaster is looming and that the world is closing in on them. It is a truly striking and promising first scene.\u003c/p>\n\u003cp>But for all of Eno’s gifts, he can’t see his way past this smart set-up. His vision is aligned with the universe — massive, mathematical, symmetrical, a never-ending parade of births and deaths. That’s fine; Sophocles felt the same way. But it feels as if his characters have adopted his beliefs, that they are a product of Eno’s philosophical system, rather than having and acting on their own sense of the world. In fact, in \u003cem>The Realistic Joneses\u003c/em> there is no sense of the world other than Eno’s machinations: we are stuck in a pattern, like the stars above us, and the play loses the force of any kind of conflict, anguish, and emotional development.\u003c/p>\n\u003cp>You can feel the problem in the very architecture of the play. It is not just Bob Jones who is dying, but the younger John Jones, too. And in the play’s only true irony, John is in a much more advanced stage of “Harriman Leavey Syndrome” — a made-up disease whose most pronounced symptom (when coupled with the right medicine) is a quirky sense of humor and a delightful loss of social propriety. These, rather aptly, are also the most recognizable qualities of Eno’s work. It’s as if he’s unconsciously created a disease that describes what’s wrong with his plays.\u003c/p>\n\u003cp>For most of the play, John makes little sense. And the same thing happens to Bob at the end, when he’s reached John’s stage of stand up comic dementia. I know he’s strung out on drugs, but I haven’t seen one drug ever make anyone that delightful. You can always see through the cracks, and they do not lead to an ordered universe. Eno does make gestures towards real pain. But the dominant mode here is one of deft, light entertainment. It feels like a cheat of what we know of the world and of the consequences Eno has set up but refused to embrace.\u003c/p>\n\u003cfigure id=\"attachment_11431555\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11431555\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web.jpg\" alt=\"Jennifer Jones (Rebecca Watson) and Bob Jones (Rod Gnapp) try to have a conversation about Bob’s deteriorating health in Will Eno’s The Realistic Joneses playing at A.C.T.’s Geary Theater through April 3, 2016. Photo by Kevin Berne.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/realistic_joneses_04_web-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Jones (Rebecca Watson) and Bob Jones (Rod Gnapp) wish for a return to everyday troubles. Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>There have been a lot of slow deaths in the theater — from 19th century stalwarts such as Dumas, fils’ \u003cem>The Lady of the Camellias\u003c/em> and Puccini’s \u003cem>La Bohème\u003c/em> to scores of 20th century meditations on cancer and AIDS. They run the generic gamut, from melodrama to lacerating satires. But none of them reduce the sickness itself to breezy, comic shtick. Rather, there’s a belief in the singularity of the soul and the body that holds it. We might be nothing more than a series of repetitions, one Jones after another, as Eno suggests. But each of us is particular and we struggle in our own particular ways. To deny the universe — the indifferent stars above us — is much more thrilling than the wry commentary and smart jokes of Eno’s incomplete realism.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Realistic Jones\u003c/em> plays through Sunday, Apr. 3 at ACT’s Geary Theater in San Francisco. For tickets and information, please go to http://www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160325.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11433821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433821\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/008-800x495.jpg\" alt=\"UC Theatre President David Mayeri\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Theatre President David Mayeri \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March: 26: \u003c/strong>The great New Orleans bandleader \u003ca href=\"http://www.theuctheatre.org/event/1049945-trombone-shorty-orleans-berkeley/\" target=\"_blank\" rel=\"noopener\">Trombone Shorty \u003c/a>plays Berkeley’s \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">UC Theatre \u003c/a>Saturday night, but the real story here is the venue. The UC Theatre, a movie house built in 1917, has been closed for 14 years, but now it’s been reborn as a non-profit music venue under the leadership of \u003ca href=\"http://ww2.kqed.org/arts/2016/03/21/in-downtown-berkeley-a-grand-rebirth-for-the-uc-theatre/\" target=\"_blank\" rel=\"noopener\">David Mayeri,\u003c/a> the former COO of the now defunct \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Graham_(promoter)\" target=\"_blank\" rel=\"noopener\">Bill Graham Presents\u003c/a>. Mayeri says he’s committed to bringing top national bands to the UC — thereby saving East Bay residents a trip to the Fillmore and other clubs in SF — and offer plenty of community events, including the \u003ca href=\"http://www.theuctheatre.org/event/1059179-bmg-community-event-berkeley-berkeley/\" target=\"_blank\" rel=\"noopener\">Berkeley High School School Jazz Band on June 3\u003c/a>. Upcoming shows include a Dark Star Orchestra residency \u003ca href=\"http://www.theuctheatre.org/event/1027921-dark-star-orchestra-berkeley/\" target=\"_blank\" rel=\"noopener\">April 7-9\u003c/a>, Los Lobos on \u003ca href=\"http://www.theuctheatre.org/event/1033461-los-lobos-berkeley/\" target=\"_blank\" rel=\"noopener\">May 13\u003c/a>, and Joe Jackson on \u003ca href=\"http://www.theuctheatre.org/event/1124359-joe-jackson-berkeley/\" target=\"_blank\" rel=\"noopener\">June 22\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11433823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433823\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg\" alt=\"Lorri Holt as Colette in the show 'Colette Uncensored'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorri Holt as Colette in the show ‘Colette Uncensored’ \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 31-May 14:\u003c/strong> Colette, born Sidonie-Gabrielle Colette, is known for her work in vaudeville, her many affairs with men and women, and the feminism that imbued the heroines of her novels. She’s best known for the short story “Gigi,” which inspired the Broadway play (starring Audrey Hepburn, who Colette picked herself), and the Hollywood musical. Now Bay Area actress Lorri Holt (wonderful in Masha and Vanya and Sonia and Spike last year at Berkeley Rep) and Zack Rogow have researched and written \u003cem>\u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">Colette Uncensored\u003c/a>\u003c/em>, a bioplay about Colette, including excerpts from a newly published collection of her writings. David Ford directs, which makes us even more eager to see it. Details are \u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t5x-ImlFUiE\u003c/p>\n\u003cp>\u003cstrong>March 25:\u003c/strong> Rachel Efron writes emotionally charged songs that live at the intersection of jazz and pop. “For me, it’s always been that intersection between words and melody, which is I feel where I live. On her new EP \u003cem>Angel No More,\u003c/em> she sounds kind of angry on the title song: “It’s you who knocked me down/Now I’m crawling falling all the way home/I’m your angel no more.” But Efron said in an interview that she’s not so much angry, just more human: “It’s about a person who’s been living as an idealized version of herself, and when she can’t sustain that anymore, everyone grieves it.” At her gig at the \u003ca href=\"http://redpoppyarthouse.org/\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, Efron says she’ll play with bassist \u003ca href=\"http://www.aarongermain.com/\" target=\"_blank\" rel=\"noopener\">Aaron Germain\u003c/a>, as filmmaker Mirissa Neff somehow turns the club into a music box. Details \u003ca href=\"http://redpoppyarthouse.org/event/rachel-efron/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11433825\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433825\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg\" alt=\"A stereograph by Stephen French from 1967\" width=\"547\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-400x439.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-768x842.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-960x1053.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French.jpg 1000w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A stereograph by Stephen French from 1967 \u003ccite>(Photo:Douglas Sandberg/San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Sept. 18:\u003c/strong> Here’s a way to learn about an important piece of local art history: The San Jose Museum of Art is celebrating artists who began working in the South Bay in the 60’s, after they were recruited by what was then San Jose State College, now San Jose State University. The exhibit features work from the permanent collection of artists like Geoffrey Bowman, Rupert Garcia, Erin Goodwin-Guerrero, and others who also helped found the museum. Find details \u003ca href=\"http://sjmusart.org/exhibition/artists-residence-san-joses-20th-century-vanguard\" target=\"_blank\" rel=\"noopener\">here on \u003cem>Artists in Residence: San Jose’s 20th-Century Vanguard.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v37BnyHefnY\u003c/p>\n\u003cp>\u003cstrong>March 26:\u003c/strong> Bring your dog, your blanket and a warm coat to this show. \u003ca href=\"http://proxysf.net/blog/?item=7167\" target=\"_blank\" rel=\"noopener\">Proxy\u003c/a> is an almost year-round, free (Cheap Thrill!), outdoor movie series at the intersection of Octavia and Hayes streets in San Francisco. The spring season opens Saturday night with Laurie Anderson’s film \u003cem>Heart of a Dog.\u003c/em> The screening will also be a place for those in need of pooches, as the San Francisco Animal Care and Control will be offering dogs for adoption from 5-7pm. Details \u003ca href=\"http://proxysf.net/events/?item=7175\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GJF5Wa5qizE&list=PLHh4DG6GTyTrvYNNEAe9QbuATWb67L1Tv\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31: \u003c/strong>The band\u003ca href=\"http://intoitoverit.com/\" target=\"_blank\" rel=\"noopener\"> Into It Over it \u003c/a>is supposed to be really one man — Evan Weiss — but his third album, \u003cem>Standards,\u003c/em> feels very like a collaboration. Weiss and drummer Josh Sparks holed up in a Vermont cabin for months writing the songs, and the drum work is a dense and wonderful battery for these smart songs. Then they came to San Francisco to work with \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">John Vanderslice at his Tiny Telephone Studios\u003c/a>. \u003ca href=\"http://www.socialhallsf.com/events/detail/306063\" target=\"_blank\" rel=\"noopener\">Weiss and Sparks play the Social Hall in San Francisco on Thursday\u003c/a> along with The World is a Beautiful Place & I am No Longer Afraid to Die. Could be a magic night.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11433821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433821\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/008-800x495.jpg\" alt=\"UC Theatre President David Mayeri\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Theatre President David Mayeri \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March: 26: \u003c/strong>The great New Orleans bandleader \u003ca href=\"http://www.theuctheatre.org/event/1049945-trombone-shorty-orleans-berkeley/\" target=\"_blank\" rel=\"noopener\">Trombone Shorty \u003c/a>plays Berkeley’s \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">UC Theatre \u003c/a>Saturday night, but the real story here is the venue. The UC Theatre, a movie house built in 1917, has been closed for 14 years, but now it’s been reborn as a non-profit music venue under the leadership of \u003ca href=\"http://ww2.kqed.org/arts/2016/03/21/in-downtown-berkeley-a-grand-rebirth-for-the-uc-theatre/\" target=\"_blank\" rel=\"noopener\">David Mayeri,\u003c/a> the former COO of the now defunct \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Graham_(promoter)\" target=\"_blank\" rel=\"noopener\">Bill Graham Presents\u003c/a>. Mayeri says he’s committed to bringing top national bands to the UC — thereby saving East Bay residents a trip to the Fillmore and other clubs in SF — and offer plenty of community events, including the \u003ca href=\"http://www.theuctheatre.org/event/1059179-bmg-community-event-berkeley-berkeley/\" target=\"_blank\" rel=\"noopener\">Berkeley High School School Jazz Band on June 3\u003c/a>. Upcoming shows include a Dark Star Orchestra residency \u003ca href=\"http://www.theuctheatre.org/event/1027921-dark-star-orchestra-berkeley/\" target=\"_blank\" rel=\"noopener\">April 7-9\u003c/a>, Los Lobos on \u003ca href=\"http://www.theuctheatre.org/event/1033461-los-lobos-berkeley/\" target=\"_blank\" rel=\"noopener\">May 13\u003c/a>, and Joe Jackson on \u003ca href=\"http://www.theuctheatre.org/event/1124359-joe-jackson-berkeley/\" target=\"_blank\" rel=\"noopener\">June 22\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11433823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433823\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg\" alt=\"Lorri Holt as Colette in the show 'Colette Uncensored'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorri Holt as Colette in the show ‘Colette Uncensored’ \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 31-May 14:\u003c/strong> Colette, born Sidonie-Gabrielle Colette, is known for her work in vaudeville, her many affairs with men and women, and the feminism that imbued the heroines of her novels. She’s best known for the short story “Gigi,” which inspired the Broadway play (starring Audrey Hepburn, who Colette picked herself), and the Hollywood musical. Now Bay Area actress Lorri Holt (wonderful in Masha and Vanya and Sonia and Spike last year at Berkeley Rep) and Zack Rogow have researched and written \u003cem>\u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">Colette Uncensored\u003c/a>\u003c/em>, a bioplay about Colette, including excerpts from a newly published collection of her writings. David Ford directs, which makes us even more eager to see it. Details are \u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/t5x-ImlFUiE'\n title='//www.youtube.com/embed/t5x-ImlFUiE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 25:\u003c/strong> Rachel Efron writes emotionally charged songs that live at the intersection of jazz and pop. “For me, it’s always been that intersection between words and melody, which is I feel where I live. On her new EP \u003cem>Angel No More,\u003c/em> she sounds kind of angry on the title song: “It’s you who knocked me down/Now I’m crawling falling all the way home/I’m your angel no more.” But Efron said in an interview that she’s not so much angry, just more human: “It’s about a person who’s been living as an idealized version of herself, and when she can’t sustain that anymore, everyone grieves it.” At her gig at the \u003ca href=\"http://redpoppyarthouse.org/\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, Efron says she’ll play with bassist \u003ca href=\"http://www.aarongermain.com/\" target=\"_blank\" rel=\"noopener\">Aaron Germain\u003c/a>, as filmmaker Mirissa Neff somehow turns the club into a music box. Details \u003ca href=\"http://redpoppyarthouse.org/event/rachel-efron/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11433825\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433825\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg\" alt=\"A stereograph by Stephen French from 1967\" width=\"547\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-400x439.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-768x842.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-960x1053.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French.jpg 1000w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A stereograph by Stephen French from 1967 \u003ccite>(Photo:Douglas Sandberg/San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Sept. 18:\u003c/strong> Here’s a way to learn about an important piece of local art history: The San Jose Museum of Art is celebrating artists who began working in the South Bay in the 60’s, after they were recruited by what was then San Jose State College, now San Jose State University. The exhibit features work from the permanent collection of artists like Geoffrey Bowman, Rupert Garcia, Erin Goodwin-Guerrero, and others who also helped found the museum. Find details \u003ca href=\"http://sjmusart.org/exhibition/artists-residence-san-joses-20th-century-vanguard\" target=\"_blank\" rel=\"noopener\">here on \u003cem>Artists in Residence: San Jose’s 20th-Century Vanguard.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v37BnyHefnY'\n title='//www.youtube.com/embed/v37BnyHefnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 26:\u003c/strong> Bring your dog, your blanket and a warm coat to this show. \u003ca href=\"http://proxysf.net/blog/?item=7167\" target=\"_blank\" rel=\"noopener\">Proxy\u003c/a> is an almost year-round, free (Cheap Thrill!), outdoor movie series at the intersection of Octavia and Hayes streets in San Francisco. The spring season opens Saturday night with Laurie Anderson’s film \u003cem>Heart of a Dog.\u003c/em> The screening will also be a place for those in need of pooches, as the San Francisco Animal Care and Control will be offering dogs for adoption from 5-7pm. Details \u003ca href=\"http://proxysf.net/events/?item=7175\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GJF5Wa5qizE'\n title='//www.youtube.com/embed/GJF5Wa5qizE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31: \u003c/strong>The band\u003ca href=\"http://intoitoverit.com/\" target=\"_blank\" rel=\"noopener\"> Into It Over it \u003c/a>is supposed to be really one man — Evan Weiss — but his third album, \u003cem>Standards,\u003c/em> feels very like a collaboration. Weiss and drummer Josh Sparks holed up in a Vermont cabin for months writing the songs, and the drum work is a dense and wonderful battery for these smart songs. Then they came to San Francisco to work with \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">John Vanderslice at his Tiny Telephone Studios\u003c/a>. \u003ca href=\"http://www.socialhallsf.com/events/detail/306063\" target=\"_blank\" rel=\"noopener\">Weiss and Sparks play the Social Hall in San Francisco on Thursday\u003c/a> along with The World is a Beautiful Place & I am No Longer Afraid to Die. Could be a magic night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Playhouse's Winning Football Drama 'Colossal' Scores a Touchdown",
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"content": "\u003cp>SF Playhouse’s production of Andrew Hinderaker’s \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/colossal/\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>takes the sports melodrama into aesthetic and philosophical territory that one never would have imagined possible. And like most truly innovative art, you forgive its weaknesses and embrace its strengths. When the soul is right, every sin is minor.\u003c/p>\n\u003cp>\u003cem>Colossal\u003c/em> is a stew of melodramatic clichés — Oedipal conflict, devastating injury, concerned therapist, gay romance (secret, tortured, and ecstatic), drum lines, militaristic coach, homoerotic locker room, homophobic teammates, and modern dance as spiritual practice. None of it should work, and yet like Greek tragedy — of which this play is a peculiarly American variant — Hinderaker spins the hackneyed tropes in a way that makes the well-worn seem new again.\u003c/p>\n\u003cfigure id=\"attachment_11428187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11428187 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/theawfulscene-800x533.jpg\" alt=\"theawfulscene\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Maier (Coach) comforts Mike (Thomas Gorrebeeck). Photo: Jessica Palopoli.\u003c/figcaption>\u003c/figure>\n\u003cp>The story is simple: Mike — talented, gay, and performing in his father’s modern dance troupe, becomes a first class Division 1 Football player. He’s bona fide NFL material. Mike loves football, especially for the bravado, the camaraderie, and the sheer brutality of taking a hit. When he suffers a spinal chord injury in his senior year, his world falls apart. Hinderaker gives us two Mikes, played by two actors: the injured one of the present (Jason Stojanovski), and the brash athlete he once was (Thomas Gorrebeeck). When Mike and Mike go at it the effect is electric, and the acting between Stojanovski and Gorrebeeck is savage.\u003c/p>\n\u003cp>It is this formal invention that makes \u003cem>Colossal\u003c/em> soar. Hinderaker, with a great deal of help from Jon Tracy’s sharp direction, creates a context from which melodrama can slip into myth. As we enter the theater, a drum line pounds away in war-like preparation for what we’re about to see and a scoreboard counts down to curtain time. A black scrim at the back of the stage creates a sense of endless depth as the drama unfolds, making the action appear to take place both in time and out of it. Also, the actors are plausible athletes, so watching them work out feels as if you just happened by a practice, instead of going to the theater.\u003c/p>\n\u003cp>It’s a pleasure to see a piece of theater so acutely aware of the dynamics of perception. Too many playwrights take the relationship between play and audience for granted. Hinderaker establishes a context for everything that happens and so even the most pedestrian scenes take on a mythic importance. A weight training challenge has the aura of a boisterous game among the gods. Sex isn’t desire, but instead a tempting of fate. A father’s disapproval comes in the form of a dream ballet, performed as a halftime show in the middle of the play and the ballgame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even at the beginning of the show, Hinderaker unmoors us in a world of stark and extreme stakes. As a rather realistic football play (“play” in the sense of a football game, as opposed to “play” in the sense of theater) unfolds before us in a kind of stop-motion ballet, the wheelchair-bound Mike slips between the actors, carefully observing each moment. It’s the most simple and common of maneuvers, a running back getting tackled. Mike clicks a remote and the players freeze in a mosaic of chaos, bodies seemingly flying in the air. Beautifully executed by stunt choreographer Dave Maier, the scene is both realistic and a fever dream. You marvel at the actors’ abilities to fast-forward, rewind, and pause their bodies.\u003c/p>\n\u003cp>By seeing what Mike sees, and presumably feeling what he feels, we begin the process of understanding the spectacle in front of us. Before we’ve had a chance to even register our feelings, we are in a deeply empathetic relationship with Mike as both our guide and the lost soul we want to heal. But we’re also entering the psychic landscape of football: \u003cem>Colossal\u003c/em> is never really a critique of that sport’s many brutalities, but rather an investigation into what it means to have lived in a state of glory.\u003c/p>\n\u003cp>SF Playhouse is the one of the few theaters in the Bay Area that has a mission that actually shows up on stage. Artistic director Bill English’s commitment to empathy as a guiding philosophical and aesthetic force is both admirable and sort of ridiculous. Why would you need to promote empathy when no one is actually against it? And yet by living that mission, fascinating things happen. SF Playhouse doesn’t just ask us to identify with a maimed hero, but also moves us to understand that his maiming is the result of a brutal and amazing culture. And it is the even-handedness of that insight — one of empathy’s traits — that makes this play and production so thrilling.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Colossal\u003c/em> runs through Saturday, Apr. 30 at SF Playhouse in San Francisco. For tickets and information go to www.sfplayhouse.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SF Playhouse’s production of Andrew Hinderaker’s \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/colossal/\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>takes the sports melodrama into aesthetic and philosophical territory that one never would have imagined possible. And like most truly innovative art, you forgive its weaknesses and embrace its strengths. When the soul is right, every sin is minor.\u003c/p>\n\u003cp>\u003cem>Colossal\u003c/em> is a stew of melodramatic clichés — Oedipal conflict, devastating injury, concerned therapist, gay romance (secret, tortured, and ecstatic), drum lines, militaristic coach, homoerotic locker room, homophobic teammates, and modern dance as spiritual practice. None of it should work, and yet like Greek tragedy — of which this play is a peculiarly American variant — Hinderaker spins the hackneyed tropes in a way that makes the well-worn seem new again.\u003c/p>\n\u003cfigure id=\"attachment_11428187\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11428187 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/theawfulscene-800x533.jpg\" alt=\"theawfulscene\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/theawfulscene-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Maier (Coach) comforts Mike (Thomas Gorrebeeck). Photo: Jessica Palopoli.\u003c/figcaption>\u003c/figure>\n\u003cp>The story is simple: Mike — talented, gay, and performing in his father’s modern dance troupe, becomes a first class Division 1 Football player. He’s bona fide NFL material. Mike loves football, especially for the bravado, the camaraderie, and the sheer brutality of taking a hit. When he suffers a spinal chord injury in his senior year, his world falls apart. Hinderaker gives us two Mikes, played by two actors: the injured one of the present (Jason Stojanovski), and the brash athlete he once was (Thomas Gorrebeeck). When Mike and Mike go at it the effect is electric, and the acting between Stojanovski and Gorrebeeck is savage.\u003c/p>\n\u003cp>It is this formal invention that makes \u003cem>Colossal\u003c/em> soar. Hinderaker, with a great deal of help from Jon Tracy’s sharp direction, creates a context from which melodrama can slip into myth. As we enter the theater, a drum line pounds away in war-like preparation for what we’re about to see and a scoreboard counts down to curtain time. A black scrim at the back of the stage creates a sense of endless depth as the drama unfolds, making the action appear to take place both in time and out of it. Also, the actors are plausible athletes, so watching them work out feels as if you just happened by a practice, instead of going to the theater.\u003c/p>\n\u003cp>It’s a pleasure to see a piece of theater so acutely aware of the dynamics of perception. Too many playwrights take the relationship between play and audience for granted. Hinderaker establishes a context for everything that happens and so even the most pedestrian scenes take on a mythic importance. A weight training challenge has the aura of a boisterous game among the gods. Sex isn’t desire, but instead a tempting of fate. A father’s disapproval comes in the form of a dream ballet, performed as a halftime show in the middle of the play and the ballgame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even at the beginning of the show, Hinderaker unmoors us in a world of stark and extreme stakes. As a rather realistic football play (“play” in the sense of a football game, as opposed to “play” in the sense of theater) unfolds before us in a kind of stop-motion ballet, the wheelchair-bound Mike slips between the actors, carefully observing each moment. It’s the most simple and common of maneuvers, a running back getting tackled. Mike clicks a remote and the players freeze in a mosaic of chaos, bodies seemingly flying in the air. Beautifully executed by stunt choreographer Dave Maier, the scene is both realistic and a fever dream. You marvel at the actors’ abilities to fast-forward, rewind, and pause their bodies.\u003c/p>\n\u003cp>By seeing what Mike sees, and presumably feeling what he feels, we begin the process of understanding the spectacle in front of us. Before we’ve had a chance to even register our feelings, we are in a deeply empathetic relationship with Mike as both our guide and the lost soul we want to heal. But we’re also entering the psychic landscape of football: \u003cem>Colossal\u003c/em> is never really a critique of that sport’s many brutalities, but rather an investigation into what it means to have lived in a state of glory.\u003c/p>\n\u003cp>SF Playhouse is the one of the few theaters in the Bay Area that has a mission that actually shows up on stage. Artistic director Bill English’s commitment to empathy as a guiding philosophical and aesthetic force is both admirable and sort of ridiculous. Why would you need to promote empathy when no one is actually against it? And yet by living that mission, fascinating things happen. SF Playhouse doesn’t just ask us to identify with a maimed hero, but also moves us to understand that his maiming is the result of a brutal and amazing culture. And it is the even-handedness of that insight — one of empathy’s traits — that makes this play and production so thrilling.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Colossal\u003c/em> runs through Saturday, Apr. 30 at SF Playhouse in San Francisco. For tickets and information go to www.sfplayhouse.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As I was listening to Chris Rock take it to the nervous white liberals of Hollywood at this year’s Oscars, my mind drifted for a moment. I wondered if I could remember the last time an Asian actor was nominated for an Academy Award? At the time I could only come up with Haing S. Ngor, who won for \u003cem>The Killing Fields\u003c/em> in 1984, although there have been a few others. It seemed strange that this type of cultural exclusion hasn’t become a hotter political issue, given how deeply rooted Asian culture — and especially Chinese culture — is in California.\u003c/p>\n\u003cp>Chinese Whispers is a company dedicated to keeping alive the rich and subtly dramatic history of Chinese immigrants, and in so doing, underscores the importance of the debate around cultural exclusion. On Thursday, I had the pleasure of attending the final dress rehearsal of the company’s latest production, \u003cem>\u003ca href=\"http://chinese-whispers.org/golden-gate/\" target=\"_blank\" rel=\"noopener\">Golden Gate\u003c/a>\u003c/em>, a multi-media ethnographic theater piece that opens Friday, Mar. 18 at San Francisco’s Fort Mason Center and runs through the weekend.\u003c/p>\n\u003cp>Director Rene Yung has gathered an impressive amount of material here, primarily from formal interviews and storytelling workshops held at the Chinatown YMCA in San Francisco. She’s taken that research and woven it into a work that slips back and forth in time, attempting to capture what it must have felt like for Chinese immigrants living in the Bay Area.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Support Chinese Whispers: Golden Gate Theater Production!\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qyp1IbPw1A8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Performed by a company of nine storytellers, ranging in age from 32 to 84, we hear what feels like hundreds of private histories coming to life before us. They aren’t big stories, but rather the day-to-day lives of ordinary people. The characters struggle against harsh economic conditions and racist politics—most obviously the Chinese Exclusion Act of 1882 that attempted to cut off Chinese immigration in the U.S. and wasn’t repealed until 1943. But the emphasis is on how these particular people and their communities just went on about their lives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The performers aren’t professional actors and it shows. They often struggle to find a rhythm and presence on stage. Yet there’s a moment towards the end of the first act when you see what Yung is after and how powerful it could be. All the performers gather in a cluster of chairs center stage. There’s a construction light off to the side whose harsh glare seems to work in opposition to the soft green scrim behind the company. And then they just talk and listen to each other. There are many much more experienced actors who should listen as intently and well as the cast does here.\u003c/p>\n\u003cp>The production features stories about a wide variety of topics: family businesses that thrive and disappear; what it feels like to be a child growing up in Locke, a rural Chinese community just outside of Stockton, and San Francisco’s Chinatown; the importance of the fishing industry and how dead the Bay seems now both as a source of food and industry. The show also takes a humorous glance at how some immigrant families probably engaged in a few illicit enterprises, and the hope, among their descendants, that they weren’t so bad. For that one stretch, \u003cem>Golden Gate\u003c/em> is riveting.\u003c/p>\n\u003cp>I wish that the whole piece could have the same energy. But Yung hasn’t yet found a consistent aesthetic to give voice to the many fascinating and beautiful stories she has uncovered. Maybe the show will find surer ground over the course of its short run this weekend or in subsequent productions. It’s a worthy project, just not one that’s realized its potential.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Golden Gate\u003c/em> plays March 18-20 at the South Side Theater (Fort Mason Center) in San Francisco. For tickets and information go to www.chinese-whispers.org.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I was listening to Chris Rock take it to the nervous white liberals of Hollywood at this year’s Oscars, my mind drifted for a moment. I wondered if I could remember the last time an Asian actor was nominated for an Academy Award? At the time I could only come up with Haing S. Ngor, who won for \u003cem>The Killing Fields\u003c/em> in 1984, although there have been a few others. It seemed strange that this type of cultural exclusion hasn’t become a hotter political issue, given how deeply rooted Asian culture — and especially Chinese culture — is in California.\u003c/p>\n\u003cp>Chinese Whispers is a company dedicated to keeping alive the rich and subtly dramatic history of Chinese immigrants, and in so doing, underscores the importance of the debate around cultural exclusion. On Thursday, I had the pleasure of attending the final dress rehearsal of the company’s latest production, \u003cem>\u003ca href=\"http://chinese-whispers.org/golden-gate/\" target=\"_blank\" rel=\"noopener\">Golden Gate\u003c/a>\u003c/em>, a multi-media ethnographic theater piece that opens Friday, Mar. 18 at San Francisco’s Fort Mason Center and runs through the weekend.\u003c/p>\n\u003cp>Director Rene Yung has gathered an impressive amount of material here, primarily from formal interviews and storytelling workshops held at the Chinatown YMCA in San Francisco. She’s taken that research and woven it into a work that slips back and forth in time, attempting to capture what it must have felt like for Chinese immigrants living in the Bay Area.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Support Chinese Whispers: Golden Gate Theater Production!\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qyp1IbPw1A8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Performed by a company of nine storytellers, ranging in age from 32 to 84, we hear what feels like hundreds of private histories coming to life before us. They aren’t big stories, but rather the day-to-day lives of ordinary people. The characters struggle against harsh economic conditions and racist politics—most obviously the Chinese Exclusion Act of 1882 that attempted to cut off Chinese immigration in the U.S. and wasn’t repealed until 1943. But the emphasis is on how these particular people and their communities just went on about their lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The performers aren’t professional actors and it shows. They often struggle to find a rhythm and presence on stage. Yet there’s a moment towards the end of the first act when you see what Yung is after and how powerful it could be. All the performers gather in a cluster of chairs center stage. There’s a construction light off to the side whose harsh glare seems to work in opposition to the soft green scrim behind the company. And then they just talk and listen to each other. There are many much more experienced actors who should listen as intently and well as the cast does here.\u003c/p>\n\u003cp>The production features stories about a wide variety of topics: family businesses that thrive and disappear; what it feels like to be a child growing up in Locke, a rural Chinese community just outside of Stockton, and San Francisco’s Chinatown; the importance of the fishing industry and how dead the Bay seems now both as a source of food and industry. The show also takes a humorous glance at how some immigrant families probably engaged in a few illicit enterprises, and the hope, among their descendants, that they weren’t so bad. For that one stretch, \u003cem>Golden Gate\u003c/em> is riveting.\u003c/p>\n\u003cp>I wish that the whole piece could have the same energy. But Yung hasn’t yet found a consistent aesthetic to give voice to the many fascinating and beautiful stories she has uncovered. Maybe the show will find surer ground over the course of its short run this weekend or in subsequent productions. It’s a worthy project, just not one that’s realized its potential.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Golden Gate\u003c/em> plays March 18-20 at the South Side Theater (Fort Mason Center) in San Francisco. For tickets and information go to www.chinese-whispers.org.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "singing-about-san-franciscos-mission-district-and-how-to-save-it",
"title": "Singing about San Francisco's Mission District, and How to Save It",
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"content": "\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rachel Bonds’ \u003cem>Swimmers\u003c/em>, premiering at the \u003ca href=\"http://www.marintheatre.org/productions/swimmers\" target=\"_blank\" rel=\"noopener\">Marin Theatre Company\u003c/a> under Mike Donahue’s alert direction, is the best of a limited type of play. We might say that it springs from the genre of tiny hurts and humane gestures—the sweet spot between Chekhov and a Hallmark card.\u003c/p>\n\u003cp>\u003cem>Swimmers\u003c/em> follows the travails of 11 workers in what appears to be a growing and successful sales company. They’re all suffering—death, divorce, alcohol, unrequited love. It’s a standard list of disappointments. Of course, we know that what these employees truly need is care, and sometimes nothing more than a simple show of concern. Gentleness, in all its guises, is the guiding aesthetic here.\u003c/p>\n\u003cp>The theme of human disappointment and redemption is usually the province of domestic dramas: all families are cauldrons of low key disasters and the steady love needed to repair them. In shifting the setting from the home to the office, \u003cem>Swimmers\u003c/em> reorders our perception of suffering and its remedies. The rhythms of work lack the blunt force trauma of familial relations, and so what we feel is both less fraught but harder to get hold of—this slippery quality lends the play a touch of menace and that’s nice.\u003c/p>\n\u003cp>The play’s most unnerving scene is between Vivian (Kristen Villanueva), a young intern who has filed a sexual harassment suit against the COO\u003cstrong>,\u003c/strong> and Dennis (Adam Andrianopoulous), an overly friendly and fat executive. Bonds never lets us know anything significant about Dennis or what motivates him. Over the course of the scene, it feels as if he’s trying to entrap Vivian, charm her, and mentor her all at once. That Vivian kind of enjoys these vague entreaties to friendship or more is also without explanation—what is she feeling when she laughs at him with such abandon?\u003c/p>\n\u003cp>These are mysteries that Bonds never reveals. She forces us to use our imagination and test our own sense of ethics and desire, of whether Vivian should find Dennis’s inappropriate jokes and just-below-the-surface flirting a source of solace or greater anxiety. It’s hard to tell what’s happening and so the world becomes more complex and worth thinking about. One might say that the desire to heal and be healed is only truly felt in slight hopes and confused motives. It’s a wonderful scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compare this to Julia Cho’s \u003cem>Aubergine\u003c/em>, currently playing at the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. That drama has a similar feel. Yet, it’s not nearly as successful or ambitious as what Bonds achieves with \u003cem>Swimmers\u003c/em>. Plays like \u003cem>Aubergine\u003c/em>—and they are legion—are desperate to usher spiritually damaged people into the ranks of the blessed and healed. It’s a kind of ersatz Christianity for the lazy. \u003cem>Swimmers\u003c/em> is sharper and less rote. Yet for all its positive qualities, Bonds’ writing suffers from the same need to over explain its way to salvation, even when the results should be tragic, or at least emotionally wrenching. It’s amazing how often the dramatist veers from necessary devastations.\u003c/p>\n\u003cfigure id=\"attachment_11410495\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11410495 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg\" alt=\"Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\" width=\"640\" height=\"340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit-400x213.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>So, for instance, Priya, secretly in love with her co-worker Tom, has just come from the dentist where she has two cavities and is teased by another co-worker, Randy, for “eating whole cups full of Reese’s Pieces.” Later, while confessing to Tom that she loves him, she manically eats one after another as he gently rejects her overtures. This should be awful, a minor key version of the Doctor’s rejection of Sonya in Chekhov’s \u003cem>Uncle Vanya\u003c/em>. But the candy overtakes the scene and the symmetry of the joke (its set up and resolution) turns Priya’s despair into a punch line, rather than what it should be—an explosion of feeling and its irresolution.\u003c/p>\n\u003cp>Throughout, most of \u003cem>Swimmers’ \u003c/em>architecture trumps character and action, and does so precisely at the moments when Bonds writes with efficiency and clarity. You can sense an artist trying to escape the straight jacket of fine playwriting and slip into more mysterious realms, where salvation, understanding, and healing are not so mechanically achieved, and characters laugh for reasons beyond our understanding, but not our fascination.\u003c/p>\n\u003cp>I feel haunted by plays like \u003cem>Swimmers\u003c/em> — one might group it with most of the work of Landford Wilson, Wendy Wasserstein, Paula Vogel, A.R. Gurney, and all their ilk — the gentle ones. These playwrights’ desire to find ways to overcome everyday pain is commendable and their work is often wildly popular with audiences. Yet, for my tastes, they explain too much and think and feel too little.\u003c/p>\n\u003cp>You can sense the lack of trust they have in audiences, as if no moment should go by that isn’t prepared for and explained. Nothing ever just happens. They contain and tame suffering—in homilies, jokes, and the well-worn rhythms of the television sitcom. They demand that we put our imaginations aside, aesthetically, politically, and ethically. But why else gather in a theater?\u003c/p>\n\u003cp>One could say that Bonds is a promising writer and that would be true—she’s a step up from most of her peers. And yet I keep thinking of Chekhov’s \u003cem>Uncle Vanya\u003c/em>, and the terror of the unrequited love that seizes the plain Sonya and wrests her of every hope except death and the promise of God’s love and embrace. I’m not asking for or expecting that type of greatness. I just ask that we do not run from it, that we give ourselves the chance to experience the beauty and gentle touch of an unsparing brutality.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"VANYA FINALE\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/nDbESHU4MBg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Swimmers\u003c/em> runs through Sunday, Mar. 27 at the Marin Theatre Company in Mill Valley. For more information and tickets go to www.marintheatre.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachel Bonds’ \u003cem>Swimmers\u003c/em>, premiering at the \u003ca href=\"http://www.marintheatre.org/productions/swimmers\" target=\"_blank\" rel=\"noopener\">Marin Theatre Company\u003c/a> under Mike Donahue’s alert direction, is the best of a limited type of play. We might say that it springs from the genre of tiny hurts and humane gestures—the sweet spot between Chekhov and a Hallmark card.\u003c/p>\n\u003cp>\u003cem>Swimmers\u003c/em> follows the travails of 11 workers in what appears to be a growing and successful sales company. They’re all suffering—death, divorce, alcohol, unrequited love. It’s a standard list of disappointments. Of course, we know that what these employees truly need is care, and sometimes nothing more than a simple show of concern. Gentleness, in all its guises, is the guiding aesthetic here.\u003c/p>\n\u003cp>The theme of human disappointment and redemption is usually the province of domestic dramas: all families are cauldrons of low key disasters and the steady love needed to repair them. In shifting the setting from the home to the office, \u003cem>Swimmers\u003c/em> reorders our perception of suffering and its remedies. The rhythms of work lack the blunt force trauma of familial relations, and so what we feel is both less fraught but harder to get hold of—this slippery quality lends the play a touch of menace and that’s nice.\u003c/p>\n\u003cp>The play’s most unnerving scene is between Vivian (Kristen Villanueva), a young intern who has filed a sexual harassment suit against the COO\u003cstrong>,\u003c/strong> and Dennis (Adam Andrianopoulous), an overly friendly and fat executive. Bonds never lets us know anything significant about Dennis or what motivates him. Over the course of the scene, it feels as if he’s trying to entrap Vivian, charm her, and mentor her all at once. That Vivian kind of enjoys these vague entreaties to friendship or more is also without explanation—what is she feeling when she laughs at him with such abandon?\u003c/p>\n\u003cp>These are mysteries that Bonds never reveals. She forces us to use our imagination and test our own sense of ethics and desire, of whether Vivian should find Dennis’s inappropriate jokes and just-below-the-surface flirting a source of solace or greater anxiety. It’s hard to tell what’s happening and so the world becomes more complex and worth thinking about. One might say that the desire to heal and be healed is only truly felt in slight hopes and confused motives. It’s a wonderful scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compare this to Julia Cho’s \u003cem>Aubergine\u003c/em>, currently playing at the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. That drama has a similar feel. Yet, it’s not nearly as successful or ambitious as what Bonds achieves with \u003cem>Swimmers\u003c/em>. Plays like \u003cem>Aubergine\u003c/em>—and they are legion—are desperate to usher spiritually damaged people into the ranks of the blessed and healed. It’s a kind of ersatz Christianity for the lazy. \u003cem>Swimmers\u003c/em> is sharper and less rote. Yet for all its positive qualities, Bonds’ writing suffers from the same need to over explain its way to salvation, even when the results should be tragic, or at least emotionally wrenching. It’s amazing how often the dramatist veers from necessary devastations.\u003c/p>\n\u003cfigure id=\"attachment_11410495\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11410495 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg\" alt=\"Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\" width=\"640\" height=\"340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit-400x213.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>So, for instance, Priya, secretly in love with her co-worker Tom, has just come from the dentist where she has two cavities and is teased by another co-worker, Randy, for “eating whole cups full of Reese’s Pieces.” Later, while confessing to Tom that she loves him, she manically eats one after another as he gently rejects her overtures. This should be awful, a minor key version of the Doctor’s rejection of Sonya in Chekhov’s \u003cem>Uncle Vanya\u003c/em>. But the candy overtakes the scene and the symmetry of the joke (its set up and resolution) turns Priya’s despair into a punch line, rather than what it should be—an explosion of feeling and its irresolution.\u003c/p>\n\u003cp>Throughout, most of \u003cem>Swimmers’ \u003c/em>architecture trumps character and action, and does so precisely at the moments when Bonds writes with efficiency and clarity. You can sense an artist trying to escape the straight jacket of fine playwriting and slip into more mysterious realms, where salvation, understanding, and healing are not so mechanically achieved, and characters laugh for reasons beyond our understanding, but not our fascination.\u003c/p>\n\u003cp>I feel haunted by plays like \u003cem>Swimmers\u003c/em> — one might group it with most of the work of Landford Wilson, Wendy Wasserstein, Paula Vogel, A.R. Gurney, and all their ilk — the gentle ones. These playwrights’ desire to find ways to overcome everyday pain is commendable and their work is often wildly popular with audiences. Yet, for my tastes, they explain too much and think and feel too little.\u003c/p>\n\u003cp>You can sense the lack of trust they have in audiences, as if no moment should go by that isn’t prepared for and explained. Nothing ever just happens. They contain and tame suffering—in homilies, jokes, and the well-worn rhythms of the television sitcom. They demand that we put our imaginations aside, aesthetically, politically, and ethically. But why else gather in a theater?\u003c/p>\n\u003cp>One could say that Bonds is a promising writer and that would be true—she’s a step up from most of her peers. And yet I keep thinking of Chekhov’s \u003cem>Uncle Vanya\u003c/em>, and the terror of the unrequited love that seizes the plain Sonya and wrests her of every hope except death and the promise of God’s love and embrace. I’m not asking for or expecting that type of greatness. I just ask that we do not run from it, that we give ourselves the chance to experience the beauty and gentle touch of an unsparing brutality.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"VANYA FINALE\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/nDbESHU4MBg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Swimmers\u003c/em> runs through Sunday, Mar. 27 at the Marin Theatre Company in Mill Valley. For more information and tickets go to www.marintheatre.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Fun Home,\u003c/em> the first Broadway musical with a lesbian protagonist, is coming to San Francisco. \u003c/p>\n\u003cp>The musical is based on an award winning graphic novel — really a memoir — by Alison Bechdel. The Tony wining musical adaptation of the novel, with music by \u003ca href=\"http://www.masterworksbroadway.com/artist/jeanine-tesori/\" target=\"_blank\" rel=\"noopener\">Jeanine Tesori \u003c/a>and lyrics and book by \u003ca href=\"http://PLmdYg8hpYRaGZ\" target=\"_blank\" rel=\"noopener\">Lisa Kron\u003c/a>, will be the first production for the reopened \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theatre\u003c/a> in January of 2017.\u003c/p>\n\u003cp>Promoter Carol Shorenstein Hays announced the booking Monday evening at an event at the Curran, now undergoing renovation, featuring the musical’s principal creators: Bechdel, Tesori, Kron, and director Sam Gold.\u003c/p>\n\u003cfigure id=\"attachment_11407162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11407162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg\" alt=\"Curran Theatre owner Carol Shorenstein Hays\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1920x1405.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-960x703.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curran Theatre owner Carol Shorenstein Hays \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hays said \u003cem>Fun Home\u003c/em> is the kind of work she hopes to showcase at the Curran: “Brave and bold.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=USae9nIwqhk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book and the musical tell the story of Bechdel’s dysfunctional family, her relationship with her closeted gay father and her own recognition as a teenager that she was gay. Bechdel is also famous for her work on the comic strip \u003cem>\u003ca href=\"http://dykestowatchoutfor.com/\" target=\"_blank\" rel=\"noopener\">Dykes to Watch Out For\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>“I don’t think this (play) could have happened 10 years ago,” Bechdel said. “People weren’t ready for a queer story (on Broadway).”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yes, by the way, Alison Bechdel and her friend Liz Wallace are responsible for what’s known as the Bechdel-Wallace test, where a work of fiction, usually a movie, is judged on whether it features at least two women who talk to each other about something other than a man. \u003cem>Fun Home\u003c/em> passes the test.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Fun Home,\u003c/em> the first Broadway musical with a lesbian protagonist, is coming to San Francisco. \u003c/p>\n\u003cp>The musical is based on an award winning graphic novel — really a memoir — by Alison Bechdel. The Tony wining musical adaptation of the novel, with music by \u003ca href=\"http://www.masterworksbroadway.com/artist/jeanine-tesori/\" target=\"_blank\" rel=\"noopener\">Jeanine Tesori \u003c/a>and lyrics and book by \u003ca href=\"http://PLmdYg8hpYRaGZ\" target=\"_blank\" rel=\"noopener\">Lisa Kron\u003c/a>, will be the first production for the reopened \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theatre\u003c/a> in January of 2017.\u003c/p>\n\u003cp>Promoter Carol Shorenstein Hays announced the booking Monday evening at an event at the Curran, now undergoing renovation, featuring the musical’s principal creators: Bechdel, Tesori, Kron, and director Sam Gold.\u003c/p>\n\u003cfigure id=\"attachment_11407162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11407162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg\" alt=\"Curran Theatre owner Carol Shorenstein Hays\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1920x1405.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-960x703.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curran Theatre owner Carol Shorenstein Hays \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hays said \u003cem>Fun Home\u003c/em> is the kind of work she hopes to showcase at the Curran: “Brave and bold.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/USae9nIwqhk'\n title='//www.youtube.com/embed/USae9nIwqhk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book and the musical tell the story of Bechdel’s dysfunctional family, her relationship with her closeted gay father and her own recognition as a teenager that she was gay. Bechdel is also famous for her work on the comic strip \u003cem>\u003ca href=\"http://dykestowatchoutfor.com/\" target=\"_blank\" rel=\"noopener\">Dykes to Watch Out For\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>“I don’t think this (play) could have happened 10 years ago,” Bechdel said. “People weren’t ready for a queer story (on Broadway).”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yes, by the way, Alison Bechdel and her friend Liz Wallace are responsible for what’s known as the Bechdel-Wallace test, where a work of fiction, usually a movie, is judged on whether it features at least two women who talk to each other about something other than a man. \u003cem>Fun Home\u003c/em> passes the test.\u003c/p>\n\n\u003c/div>\u003c/p>",
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