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"content": "\u003cp>If you Google “what do the women say?”, you get a fever of listicles like “\u003ca href=\"http://wallstreetinsanity.com/30-things-women-say-and-what-they-really-mean/\" target=\"_blank\" rel=\"noopener\">30 Things Women Say And What They Really Mean\u003c/a>” and “\u003ca href=\"http://list25.com/25-things-women-say-that-men-misunderstand/\" target=\"_blank\" rel=\"noopener\">25 Things Women Say That Men Misunderstand\u003c/a>”.\u003c/p>\n\u003cp>Undeterred by such inanities, \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>’ annual International Women’s Day Celebration on Saturday, Mar. 12 at the La Peña Cultural Center in Berkeley — titled \u003cem>What do the Women Say?\u003c/em> — tackles the question in a much more spiritual and creative way.\u003c/p>\n\u003cp>Previous iterations of this one-day festival devoted, since 2011, to exploring the work of Middle Eastern women artists have focused on such themes as activism, sex and sexuality, and female solo performers. 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The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’\" width=\"978\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-400x201.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-800x402.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-768x386.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-960x482.png 960w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’ \u003ccite>(Photo: Courtesy of Zawaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The women featured are accomplished artists renowned for the excellence of their artistry,” says Golden Thread founding artistic director Torange Yeghiazarian. “But they are also leaders, who have founded important organizations, trained and championed other artists, and worked endlessly to celebrate and preserve culture and history for Middle Eastern immigrant communities in the Bay Area. This is a community that faces growing hostility and has to battle common misconceptions of the well-intended. These artists choose to lift up their community through their art, and document our existence as an immigrant community that has voice and matters.”\u003c/p>\n\u003cp>At the centerpiece of the event is a concert by \u003ca href=\"http://zawaya.org/site/aswat-ensemble/\" target=\"_blank\" rel=\"noopener\">The Aswat Ensemble\u003c/a>, one of the jewels the Bay Area music landscape. The group’s sweet spot is songs from the Arab world, old and new, performed on traditional musical instruments like the qanun (trapezoidal zither), ‘oud (lute), and nay (reed flute). They have terrific singers too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Arab World Folk Medley by Aswat Ensemble تشكيلة أغاني فلكلورية عربية\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/RUqNLBEm2uY?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>For the Golden Thread event, the \u003ca href=\"http://zawaya.org/site/women-ensemble/\" target=\"_blank\" rel=\"noopener\">Aswat Women’s Ensemble\u003c/a> brings to life classic songs from some of Arabic music’s most famous divas — Asmahan, Fairouz, Shadia, and Dalida.\u003c/p>\n\u003cp>Another highlight of this year’s lineup is a sneak peak at the latest play by Betty Shamieh, a prolific, San Francisco-raised dramatist of Palestinian roots with 15 plays to her name. Among other accolades, Shamieh holds the distinction of becoming, in 2004, the first Palestinian-American to premiere a play off-Broadway — \u003cem>Roar\u003c/em>, a Palestinian domestic drama. Nora el Samahy, a vibrant local actress who frequently performs with Golden Thread and has appeared in plays by Shamieh in the past, performs sections from the playwright’s latest work, \u003cem>The Strangest\u003c/em>.\u003c/p>\n\u003cp>Other artists featured at the celebration include Sharlyn Sawyer, founding artistic director of \u003ca href=\"http://www.dancesilkroad.org/\" target=\"_blank\" rel=\"noopener\">Ballet Afsaneh\u003c/a>, a Bay Area performance company focusing on the dance, poetry, and music of the Silk Road; visual artist and curator Taraneh Hemami, who has curated exhibitions in venues like the \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> around the themes of displacement, preservation and representation; and Nabila Mango, co-founder of \u003ca href=\"http://zawaya.org/site/\" target=\"_blank\" rel=\"noopener\">Zawaya\u003c/a>, the Aswat Ensemble’s parent organization, which seeks to preserve and promote the Arab arts in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Experience Golden Thread Productions’ ‘\u003c/span>What Do the Women Say?’ on Saturday, Mar. 12 at\u003cb> \u003c/b>La Peña Cultural Center\u003cspan style=\"font-weight: 400\"> in\u003c/span>\u003cspan style=\"font-weight: 400\"> Berkeley. Information and tickets \u003ca href=\"http://www.goldenthread.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you Google “what do the women say?”, you get a fever of listicles like “\u003ca href=\"http://wallstreetinsanity.com/30-things-women-say-and-what-they-really-mean/\" target=\"_blank\" rel=\"noopener\">30 Things Women Say And What They Really Mean\u003c/a>” and “\u003ca href=\"http://list25.com/25-things-women-say-that-men-misunderstand/\" target=\"_blank\" rel=\"noopener\">25 Things Women Say That Men Misunderstand\u003c/a>”.\u003c/p>\n\u003cp>Undeterred by such inanities, \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>’ annual International Women’s Day Celebration on Saturday, Mar. 12 at the La Peña Cultural Center in Berkeley — titled \u003cem>What do the Women Say?\u003c/em> — tackles the question in a much more spiritual and creative way.\u003c/p>\n\u003cp>Previous iterations of this one-day festival devoted, since 2011, to exploring the work of Middle Eastern women artists have focused on such themes as activism, sex and sexuality, and female solo performers. This year, the topic is Bay Area women artists who build community through their art.\u003c/p>\n\u003cfigure id=\"attachment_11394570\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11394570 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png\" alt=\"The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’\" width=\"978\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-400x201.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-800x402.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-768x386.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-960x482.png 960w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’ \u003ccite>(Photo: Courtesy of Zawaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The women featured are accomplished artists renowned for the excellence of their artistry,” says Golden Thread founding artistic director Torange Yeghiazarian. “But they are also leaders, who have founded important organizations, trained and championed other artists, and worked endlessly to celebrate and preserve culture and history for Middle Eastern immigrant communities in the Bay Area. This is a community that faces growing hostility and has to battle common misconceptions of the well-intended. These artists choose to lift up their community through their art, and document our existence as an immigrant community that has voice and matters.”\u003c/p>\n\u003cp>At the centerpiece of the event is a concert by \u003ca href=\"http://zawaya.org/site/aswat-ensemble/\" target=\"_blank\" rel=\"noopener\">The Aswat Ensemble\u003c/a>, one of the jewels the Bay Area music landscape. The group’s sweet spot is songs from the Arab world, old and new, performed on traditional musical instruments like the qanun (trapezoidal zither), ‘oud (lute), and nay (reed flute). They have terrific singers too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Arab World Folk Medley by Aswat Ensemble تشكيلة أغاني فلكلورية عربية\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/RUqNLBEm2uY?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>For the Golden Thread event, the \u003ca href=\"http://zawaya.org/site/women-ensemble/\" target=\"_blank\" rel=\"noopener\">Aswat Women’s Ensemble\u003c/a> brings to life classic songs from some of Arabic music’s most famous divas — Asmahan, Fairouz, Shadia, and Dalida.\u003c/p>\n\u003cp>Another highlight of this year’s lineup is a sneak peak at the latest play by Betty Shamieh, a prolific, San Francisco-raised dramatist of Palestinian roots with 15 plays to her name. Among other accolades, Shamieh holds the distinction of becoming, in 2004, the first Palestinian-American to premiere a play off-Broadway — \u003cem>Roar\u003c/em>, a Palestinian domestic drama. Nora el Samahy, a vibrant local actress who frequently performs with Golden Thread and has appeared in plays by Shamieh in the past, performs sections from the playwright’s latest work, \u003cem>The Strangest\u003c/em>.\u003c/p>\n\u003cp>Other artists featured at the celebration include Sharlyn Sawyer, founding artistic director of \u003ca href=\"http://www.dancesilkroad.org/\" target=\"_blank\" rel=\"noopener\">Ballet Afsaneh\u003c/a>, a Bay Area performance company focusing on the dance, poetry, and music of the Silk Road; visual artist and curator Taraneh Hemami, who has curated exhibitions in venues like the \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> around the themes of displacement, preservation and representation; and Nabila Mango, co-founder of \u003ca href=\"http://zawaya.org/site/\" target=\"_blank\" rel=\"noopener\">Zawaya\u003c/a>, the Aswat Ensemble’s parent organization, which seeks to preserve and promote the Arab arts in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Experience Golden Thread Productions’ ‘\u003c/span>What Do the Women Say?’ on Saturday, Mar. 12 at\u003cb> \u003c/b>La Peña Cultural Center\u003cspan style=\"font-weight: 400\"> in\u003c/span>\u003cspan style=\"font-weight: 400\"> Berkeley. Information and tickets \u003ca href=\"http://www.goldenthread.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Big Joe’s a fighter and a braggart. He’s young, fearless, and on the make. Joe doesn’t think much and he’s ready for anything, which could describe most young men. So when an army recruiter asks him if he’s got the nerve for war while promising a little female company for his troubles, Big Joe signs up and eggs his friends to join in on the fun, too. He’s ready for adventure. And he’ll get that, just not in the way he imagines.\u003c/p>\n\u003cp>The naïf who goes to war is an old story and has produced some great theater — Falstaff in the \u003cem>Henry\u003c/em> plays, Brecht’s \u003cem>A Man’s a Man\u003c/em>, David Rabe’s \u003cem>The Basic Training of Pavlo Hummel\u003c/em>, and Charles Wood’s \u003cem>Dingo, \u003c/em>to name a few. This familiar premise launches \u003cem>The Unfortunates\u003c/em>, a blues, gospel, hip-hop musical by Jon Beavers, Kristoffer Diaz, Casey Hurt, Ian Merrigan, and Ramiz Monsef that aims to be nothing less than a surreal odyssey into the soul of a condemned man. A hit at the Oregon Shakespeare Festival, the musical’s creators have retooled the show under the aegis of San Francisco’s American Conservatory Theater, and its greatest and most striking asset has to be Big Joe’s hands.\u003c/p>\n\u003cp>The massive prop hands worn by actor Ian Merrigan in the role of Big Joe are possibly 10 times the size of a normal man’s hands. And they’re uncommonly beautiful, but no one ever mentions the gorgeousness of Big Joe’s hands in \u003cem>The Unfortunates. \u003c/em>Not even Big Joe and his girlfriend, Rae (a woman who, for reasons unclear to us, has no arms). But those fists are magical to behold, and you want to reach out and touch them and see how they differ from and work like actual hands. Somewhere between costume and prop, but verging on character, Big Joe’s hands are the story that \u003cem>The Unfortunates\u003c/em> doesn’t have the discipline or vision to take on.\u003c/p>\n\u003cp>You can tell how well-rehearsed the show is. But in its soul, the musical comes across as sloppy, haphazard, and overbearing—a series of ideas about what an epic should be instead of the thing itself. There’s a problem when every number is the “big number” and every scene is climactic. And so when Big Joe rolls the dice for his life, or fights a corrupt doctor, or watches a friend die, it’s all played at the same fevered pitch. It’s as if the entire production is afraid to let the story slow down and\u003cem> just be\u003c/em> — a crucial aspect to any odyssey.\u003c/p>\n\u003cp>The score’s mélange of blues, gospel, and hip-hop is \u003cem>The Unfortunates’\u003c/em> most telling failure. These are genres of daring and danger, and aren’t particularly amenable to pastiche. Great blues, rap and gospel singers perform with the whole of their beings. But the performances here are surface imitations, mere gestures compared to more committed artists and art.\u003cstrong> \u003c/strong>And so many of the numbers feel like a put on, like YouTube stunts featuring preschoolers pretending to be gangster rappers. Part of the issue is the performers’ lack of skill: enthusiasm and hitting your cues is no substitute for talent and authenticity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The deeper problem, though, is one of idiom. The show’s creators never find a way to tell a story about a man with big hands and so they barrage us with sensation — the sensation of the blues’ deep yearning, the sensation of rap’s anger, the sensation of gospel’s spiritual transcendence, and, most crudely, the sensation of significance. What \u003cem>The Unfortunates\u003c/em> demands from us isn’t understanding, but rather awe. Over and over we’re urged to applaud, whether it be elementary tap dancing, showy singing, or one of the many melodramatic death scenes. But these are gimmicks: they have neither meaning nor a way into actual experience. They’re simply the noise that keeps us from the beauty of Big Joe’s hands.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Unfortunates\u003c/em> runs through April 10th at the Strand Theater in San Francisco. For tickets and information go to www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Big Joe’s a fighter and a braggart. He’s young, fearless, and on the make. Joe doesn’t think much and he’s ready for anything, which could describe most young men. So when an army recruiter asks him if he’s got the nerve for war while promising a little female company for his troubles, Big Joe signs up and eggs his friends to join in on the fun, too. He’s ready for adventure. And he’ll get that, just not in the way he imagines.\u003c/p>\n\u003cp>The naïf who goes to war is an old story and has produced some great theater — Falstaff in the \u003cem>Henry\u003c/em> plays, Brecht’s \u003cem>A Man’s a Man\u003c/em>, David Rabe’s \u003cem>The Basic Training of Pavlo Hummel\u003c/em>, and Charles Wood’s \u003cem>Dingo, \u003c/em>to name a few. This familiar premise launches \u003cem>The Unfortunates\u003c/em>, a blues, gospel, hip-hop musical by Jon Beavers, Kristoffer Diaz, Casey Hurt, Ian Merrigan, and Ramiz Monsef that aims to be nothing less than a surreal odyssey into the soul of a condemned man. A hit at the Oregon Shakespeare Festival, the musical’s creators have retooled the show under the aegis of San Francisco’s American Conservatory Theater, and its greatest and most striking asset has to be Big Joe’s hands.\u003c/p>\n\u003cp>The massive prop hands worn by actor Ian Merrigan in the role of Big Joe are possibly 10 times the size of a normal man’s hands. And they’re uncommonly beautiful, but no one ever mentions the gorgeousness of Big Joe’s hands in \u003cem>The Unfortunates. \u003c/em>Not even Big Joe and his girlfriend, Rae (a woman who, for reasons unclear to us, has no arms). But those fists are magical to behold, and you want to reach out and touch them and see how they differ from and work like actual hands. Somewhere between costume and prop, but verging on character, Big Joe’s hands are the story that \u003cem>The Unfortunates\u003c/em> doesn’t have the discipline or vision to take on.\u003c/p>\n\u003cp>You can tell how well-rehearsed the show is. But in its soul, the musical comes across as sloppy, haphazard, and overbearing—a series of ideas about what an epic should be instead of the thing itself. There’s a problem when every number is the “big number” and every scene is climactic. And so when Big Joe rolls the dice for his life, or fights a corrupt doctor, or watches a friend die, it’s all played at the same fevered pitch. It’s as if the entire production is afraid to let the story slow down and\u003cem> just be\u003c/em> — a crucial aspect to any odyssey.\u003c/p>\n\u003cp>The score’s mélange of blues, gospel, and hip-hop is \u003cem>The Unfortunates’\u003c/em> most telling failure. These are genres of daring and danger, and aren’t particularly amenable to pastiche. Great blues, rap and gospel singers perform with the whole of their beings. But the performances here are surface imitations, mere gestures compared to more committed artists and art.\u003cstrong> \u003c/strong>And so many of the numbers feel like a put on, like YouTube stunts featuring preschoolers pretending to be gangster rappers. Part of the issue is the performers’ lack of skill: enthusiasm and hitting your cues is no substitute for talent and authenticity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The deeper problem, though, is one of idiom. The show’s creators never find a way to tell a story about a man with big hands and so they barrage us with sensation — the sensation of the blues’ deep yearning, the sensation of rap’s anger, the sensation of gospel’s spiritual transcendence, and, most crudely, the sensation of significance. What \u003cem>The Unfortunates\u003c/em> demands from us isn’t understanding, but rather awe. Over and over we’re urged to applaud, whether it be elementary tap dancing, showy singing, or one of the many melodramatic death scenes. But these are gimmicks: they have neither meaning nor a way into actual experience. They’re simply the noise that keeps us from the beauty of Big Joe’s hands.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Unfortunates\u003c/em> runs through April 10th at the Strand Theater in San Francisco. For tickets and information go to www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Daniel Sullivan’s production of Shakespeare’s \u003cem>Macbeth\u003c/em> at the Berkeley Repertory Theatre begins with a soldier strapped to a tree, Christ like, and the three witches milling about, prepping his body for God knows what. It feels malevolent without being foreboding, and that’s good.\u003c/p>\n\u003cp>Then we realize that film and stage star Frances McDormand, cast as Lady Macbeth, is also one of the witches — and rightfully bearded as Banquo notes — “You should be women, / And yet your beards forbid me to interpret / That you are so.” McDormand is an actress of great precision and wit; a comic capable of slipping into the horrific with a wink. And so the casting is inspired: this is a \u003cem>Macbeth\u003c/em> that springs from a witch’s imagination.\u003c/p>\n\u003cp>You can feel the play slither into an unexpected and wicked balance. Here is the type of sly poisoning of the soul that Shakespeare imagined. A dash of star peaking out from an unexpected corner of the production, and like Macbeth, we’re hooked. Follow McDormand and you follow the evil — witch, wife, plot, kill, chaos, and a frenzied and terrifying descent into madness. The possibilities are intoxicating.\u003c/p>\n\u003cp>But Sullivan doesn’t take advantage of this propulsive energy, and the production just kind of floats away without purpose or vision. The loss of steam happens within the first 15 minutes. It was as if the director, actors, and everyone else involved decided to quit; that they simply lost the will to bring \u003cem>Macbeth\u003c/em> to life.\u003c/p>\n\u003cp>In the title role, \u003cem>Game of Thrones\u003c/em> star Conleth Hill hams and mugs for laughs, behaving as if his mere presence should be enough to satisfy us. There are wild special effects that say nothing about the action on stage; in fact, they distract from it. At one point, an orange moon turns blue and then back again for no apparent reason. The ensemble of actors seem lost to each other, as if they were performing in radically different productions. And the fight choreography is an embarrassment of large clanking swords that tells us nothing of Macbeth or the world in which he lives. They’re just random effects of the night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joy of \u003cem>Macbeth \u003c/em>is the joy of living at its most savage. I don’t know about you, but I always want more, and more, and more of this play — the witches, the prophecies, the violence, the chaos, the crazed embrace of every dream, every murderous ambition, and every sidelong hope, no matter what the cost. Without that headlong rush into hell, it’s just reciting lines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Macbeth\u003c/em> runs through April 10th at The Berkeley Repertory Theatre in Berkeley. For tickets and information go to www.berkeleyrep.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Daniel Sullivan’s production of Shakespeare’s \u003cem>Macbeth\u003c/em> at the Berkeley Repertory Theatre begins with a soldier strapped to a tree, Christ like, and the three witches milling about, prepping his body for God knows what. It feels malevolent without being foreboding, and that’s good.\u003c/p>\n\u003cp>Then we realize that film and stage star Frances McDormand, cast as Lady Macbeth, is also one of the witches — and rightfully bearded as Banquo notes — “You should be women, / And yet your beards forbid me to interpret / That you are so.” McDormand is an actress of great precision and wit; a comic capable of slipping into the horrific with a wink. And so the casting is inspired: this is a \u003cem>Macbeth\u003c/em> that springs from a witch’s imagination.\u003c/p>\n\u003cp>You can feel the play slither into an unexpected and wicked balance. Here is the type of sly poisoning of the soul that Shakespeare imagined. A dash of star peaking out from an unexpected corner of the production, and like Macbeth, we’re hooked. Follow McDormand and you follow the evil — witch, wife, plot, kill, chaos, and a frenzied and terrifying descent into madness. The possibilities are intoxicating.\u003c/p>\n\u003cp>But Sullivan doesn’t take advantage of this propulsive energy, and the production just kind of floats away without purpose or vision. The loss of steam happens within the first 15 minutes. It was as if the director, actors, and everyone else involved decided to quit; that they simply lost the will to bring \u003cem>Macbeth\u003c/em> to life.\u003c/p>\n\u003cp>In the title role, \u003cem>Game of Thrones\u003c/em> star Conleth Hill hams and mugs for laughs, behaving as if his mere presence should be enough to satisfy us. There are wild special effects that say nothing about the action on stage; in fact, they distract from it. At one point, an orange moon turns blue and then back again for no apparent reason. The ensemble of actors seem lost to each other, as if they were performing in radically different productions. And the fight choreography is an embarrassment of large clanking swords that tells us nothing of Macbeth or the world in which he lives. They’re just random effects of the night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The joy of \u003cem>Macbeth \u003c/em>is the joy of living at its most savage. I don’t know about you, but I always want more, and more, and more of this play — the witches, the prophecies, the violence, the chaos, the crazed embrace of every dream, every murderous ambition, and every sidelong hope, no matter what the cost. Without that headlong rush into hell, it’s just reciting lines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Macbeth\u003c/em> runs through April 10th at The Berkeley Repertory Theatre in Berkeley. For tickets and information go to www.berkeleyrep.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Broadway has long been a nostalgia machine, taking bobby soxers, baby boomers and the bell-bottom crowd back, respectively, to the 1950s (\u003cem>Grease\u003c/em>), 1960s (\u003cem>Hair\u003c/em>) and 1970s (\u003cem>Mama Mia!\u003c/em>) with unabashed euphoria.\u003c/p>\n\u003cp>The musical adaptation of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Dirty Dancing\u003c/a>\u003c/em>, based on the 1987 feelgood movie romance starring Patrick Swayze and Jennifer Grey, does the same thing for those of us who came of age at a time when \u003cem>Fame\u003c/em> and \u003cem>Flashdance\u003c/em> were all the rage. Never mind that \u003cem>Dirty Dancing\u003c/em> is set in the summer of 1963; every teenage girl who saw the movie when it came out procured a pair of denim cutoffs and a taste for dudes in wife-beaters and quiffs.\u003c/p>\n\u003cfigure id=\"attachment_11370195\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11370195\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg\" alt=\"A scene from the North American tour of 'Dirty Dancing'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the North American tour of ‘Dirty Dancing’ \u003ccite>(Photo: Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical version, which follows the movie’s plot about the creative and sexual awakening of awkward teen Frances “Baby” Houseman in the arms of bad boy dancer Johnny Castle and includes many of the movie’s original lines and songs, came out of Australia more than 10 years ago. Despite patchy reviews, the show has been selling out theaters all over the world ever since, largely by tapping into our collective yearning for the past — a yearning that apparently overrides anyone’s appetite for a quality art experience.\u003c/p>\n\u003cp>While I couldn’t even remotely pretend to have “had the time of my life,” as the musical’s most famous song goes, \u003cem>Dirty Dancing\u003c/em> has, unsurprisingly, massive appeal to groups of ladies in their 40s looking to escape their toddler-infused lives for a few hours. The Golden Gate Theater was packed with this demographic the night I attended the show. And everyone screamed in all the right places — when hunky Christopher Tierney as Johnny Castle intones the immortal line, “nobody puts Baby in a corner,” and especially when the buff performer takes off his shirt. Oh, and the dancing is fantastic.\u003c/p>\n\u003cp>Watch the sizzling sizzle reel for the U.S. tour:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"DIRTY DANCING North American Tour Sizzle Reel\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0FhRIJO-7Cg?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>Dirty Dancing\u003c/em> runs through Sunday, Mar. 20 at the Golden Gate Theater in San Francisco. Find out more \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Broadway has long been a nostalgia machine, taking bobby soxers, baby boomers and the bell-bottom crowd back, respectively, to the 1950s (\u003cem>Grease\u003c/em>), 1960s (\u003cem>Hair\u003c/em>) and 1970s (\u003cem>Mama Mia!\u003c/em>) with unabashed euphoria.\u003c/p>\n\u003cp>The musical adaptation of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Dirty Dancing\u003c/a>\u003c/em>, based on the 1987 feelgood movie romance starring Patrick Swayze and Jennifer Grey, does the same thing for those of us who came of age at a time when \u003cem>Fame\u003c/em> and \u003cem>Flashdance\u003c/em> were all the rage. Never mind that \u003cem>Dirty Dancing\u003c/em> is set in the summer of 1963; every teenage girl who saw the movie when it came out procured a pair of denim cutoffs and a taste for dudes in wife-beaters and quiffs.\u003c/p>\n\u003cfigure id=\"attachment_11370195\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11370195\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg\" alt=\"A scene from the North American tour of 'Dirty Dancing'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the North American tour of ‘Dirty Dancing’ \u003ccite>(Photo: Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical version, which follows the movie’s plot about the creative and sexual awakening of awkward teen Frances “Baby” Houseman in the arms of bad boy dancer Johnny Castle and includes many of the movie’s original lines and songs, came out of Australia more than 10 years ago. Despite patchy reviews, the show has been selling out theaters all over the world ever since, largely by tapping into our collective yearning for the past — a yearning that apparently overrides anyone’s appetite for a quality art experience.\u003c/p>\n\u003cp>While I couldn’t even remotely pretend to have “had the time of my life,” as the musical’s most famous song goes, \u003cem>Dirty Dancing\u003c/em> has, unsurprisingly, massive appeal to groups of ladies in their 40s looking to escape their toddler-infused lives for a few hours. The Golden Gate Theater was packed with this demographic the night I attended the show. And everyone screamed in all the right places — when hunky Christopher Tierney as Johnny Castle intones the immortal line, “nobody puts Baby in a corner,” and especially when the buff performer takes off his shirt. Oh, and the dancing is fantastic.\u003c/p>\n\u003cp>Watch the sizzling sizzle reel for the U.S. tour:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"DIRTY DANCING North American Tour Sizzle Reel\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0FhRIJO-7Cg?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>Dirty Dancing\u003c/em> runs through Sunday, Mar. 20 at the Golden Gate Theater in San Francisco. Find out more \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> this week will present the world’s first amateur production of the Broadway hit \u003cem>\u003ca href=\"http://schoolofrockthemusical.com/tickets/?gclid=CPPQ4_C9nssCFYRrfgod_l8KxQ\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>,\u003c/em> by \u003ca href=\"http://www.andrewlloydwebber.com/\" target=\"_blank\" rel=\"noopener\">Andrew Lloyd Webber\u003c/a>, the composer behind the musicals \u003cem>Phantom of the Opera\u003c/em>, \u003cem>Cats\u003c/em> and \u003cem>Sunset Boulevard\u003c/em>.\u003c/p>\n\u003cp>It’s a dream come true for the Oakland charter school’s many theater kids, the ones who grow up believing that one day they’ll sing and tap their heart out on Broadway.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/249709250″ 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>Tenth grader Jack Isaacson Brewster plays the lead.\u003c/p>\n\u003cp>“Okay, I’m the second person to play Dewey in the musical School of Rock.” Brewster said at a recent rehearsal. “That’s just so crazy to me. Wow!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brewster and his cast mates, the band, the director, and music director, stage manager and set designer, plus a few parents were milling about on Saturday at the \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theater\u003c/a> in San Francisco. This is where the kids will be presenting \u003ca href=\"http://www.oakarts.org/about/227-a-front-page-cat/927-osa-presents-webber-s-school-of-rock\" target=\"_blank\" rel=\"noopener\">\u003cem>School of Rock\u003c/em> for the first time on Thursday, and where the show will continuing through March 12.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11370312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg\" alt=\"Oakland School for the Arts students rehearse 'School of Rock' at the Curran\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts students rehearse ‘School of Rock’ at the Curran \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a sweet comedy, based on the \u003ca href=\"http://www.imdb.com/title/tt0332379/\" target=\"_blank\" rel=\"noopener\">2003 movie starring Jack Black\u003c/a>, with songs by Webber, lyrics by Glenn Slater and a book by Julian Fellowes. It tells the story of a misfit rock-and-roller and how he becomes mentor to a classroom of misfit kids who triumph despite the odds. \u003c/p>\n\u003cp>It’s by no means a fresh story, but the student performers are so into it, like tenth grader Tatiana Cordoba from Castro Valley. Cordoba plays one of the parents and she says she’s gaining insights about both sides of the child-parent dynamic.\u003c/p>\n\u003cp>“I think it’s really special to have a show,” Cordoba said, “where you really get to see the inside of a kid, and their heart and their head, and how like they’re really more mature than people think they are.”\u003c/p>\n\u003cp>The kids have the chance to perform the musical because Andrew Lloyd Webber is releasing the amateur performance rights years ahead of the usual schedule for a successful Broadway show.\u003c/p>\n\u003cp>“This is a piece about children making music,” said Webber, who \u003ca href=\"http://www.andrewlloydwebberfoundation.com/\" target=\"_blank\" rel=\"noopener\">founded a charity\u003c/a> that funds music and arts education in England and New York City. “And the more young people get involved with making music and theater, then the more they love theater and come to theater. Anyway that’s how I started.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n2wGtlfD19w\u003c/p>\n\u003cp>Webber gave the rights for the first amateur production to the Oakland School for the Arts, because producer and Curran Theater owner Carole Shorenstein Hays suggested the school to Webber, and then she invited the students to stage the show at the Curran.\u003c/p>\n\u003cp>But it was a bit of a dilemma for School for the Arts staff. Musicals are so logistically challenging that even this school, which is devoted to the performing arts, had decided to do a musical every other year only. This was supposed to be a down year.\u003c/p>\n\u003cp>“The academic teachers don’t have this on their calendar,” principal Donn Harris said. “And I come in and say, we’re going to charge ahead. So I’ve got to smooth those waters.”\u003c/p>\n\u003cp>But then Harris explains why he couldn’t pass up the offer. “Maybe there’s some competitive fire with those other schools that didn’t get it.”\u003c/p>\n\u003cp>Normally, musicals take five to six months to produce, but theater teacher and director Michael Berry says they’ve done this show in just over seven weeks, with the student performers rehearsing six and seven days a week.\u003c/p>\n\u003cfigure id=\"attachment_11370313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370313\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg\" alt=\"Oakland School for the Arts theater teacher Michael Berry\" width=\"640\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-787x600.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1920x1463.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-960x732.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts theater teacher Michael Berry \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is what arts education is about,” Berry said. “Most of these kids are not going to go on to the performing arts, but this experience is something they’ll carry with them for a lifetime.”\u003c/p>\n\u003cp>That’s certainly true for School for the Arts Stage Manager Isabel Gartland. She was in NYC with her family, and got to shadow the stage hands and Broadway production stage manager.\u003c/p>\n\u003cp>“It’s a great opportunity for us to see what it’s like to be in the theater industry.” Gartland said. “Instead of being in just a high school production, because this seems much bigger than a high school production.”\u003c/p>\n\u003cp>Webber says he’s thrilled the kids are enjoying themselves. It’s exactly what he had in mind when he made \u003cem>School of Rock\u003c/em> available for youth theater productions.\u003c/p>\n\u003cp>“It empowers,” Webber said. “And that’s why I want the kids to perform the piece. And have fun with it. And that’s the most important thing. To have fun with it. To rock out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One disappointment for anyone who was hoping to catch \u003cem>School of Rock\u003c/em> without going to New York, or waiting a few years for a touring company to come to San Francisco, you’re probably out of luck. The Oakland School for the Arts shows are sold out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> this week will present the world’s first amateur production of the Broadway hit \u003cem>\u003ca href=\"http://schoolofrockthemusical.com/tickets/?gclid=CPPQ4_C9nssCFYRrfgod_l8KxQ\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>,\u003c/em> by \u003ca href=\"http://www.andrewlloydwebber.com/\" target=\"_blank\" rel=\"noopener\">Andrew Lloyd Webber\u003c/a>, the composer behind the musicals \u003cem>Phantom of the Opera\u003c/em>, \u003cem>Cats\u003c/em> and \u003cem>Sunset Boulevard\u003c/em>.\u003c/p>\n\u003cp>It’s a dream come true for the Oakland charter school’s many theater kids, the ones who grow up believing that one day they’ll sing and tap their heart out on Broadway.\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/249709250″&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/249709250″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tenth grader Jack Isaacson Brewster plays the lead.\u003c/p>\n\u003cp>“Okay, I’m the second person to play Dewey in the musical School of Rock.” Brewster said at a recent rehearsal. “That’s just so crazy to me. Wow!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brewster and his cast mates, the band, the director, and music director, stage manager and set designer, plus a few parents were milling about on Saturday at the \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theater\u003c/a> in San Francisco. This is where the kids will be presenting \u003ca href=\"http://www.oakarts.org/about/227-a-front-page-cat/927-osa-presents-webber-s-school-of-rock\" target=\"_blank\" rel=\"noopener\">\u003cem>School of Rock\u003c/em> for the first time on Thursday, and where the show will continuing through March 12.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11370312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg\" alt=\"Oakland School for the Arts students rehearse 'School of Rock' at the Curran\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts students rehearse ‘School of Rock’ at the Curran \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a sweet comedy, based on the \u003ca href=\"http://www.imdb.com/title/tt0332379/\" target=\"_blank\" rel=\"noopener\">2003 movie starring Jack Black\u003c/a>, with songs by Webber, lyrics by Glenn Slater and a book by Julian Fellowes. It tells the story of a misfit rock-and-roller and how he becomes mentor to a classroom of misfit kids who triumph despite the odds. \u003c/p>\n\u003cp>It’s by no means a fresh story, but the student performers are so into it, like tenth grader Tatiana Cordoba from Castro Valley. Cordoba plays one of the parents and she says she’s gaining insights about both sides of the child-parent dynamic.\u003c/p>\n\u003cp>“I think it’s really special to have a show,” Cordoba said, “where you really get to see the inside of a kid, and their heart and their head, and how like they’re really more mature than people think they are.”\u003c/p>\n\u003cp>The kids have the chance to perform the musical because Andrew Lloyd Webber is releasing the amateur performance rights years ahead of the usual schedule for a successful Broadway show.\u003c/p>\n\u003cp>“This is a piece about children making music,” said Webber, who \u003ca href=\"http://www.andrewlloydwebberfoundation.com/\" target=\"_blank\" rel=\"noopener\">founded a charity\u003c/a> that funds music and arts education in England and New York City. “And the more young people get involved with making music and theater, then the more they love theater and come to theater. Anyway that’s how I started.”\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/n2wGtlfD19w'\n title='//www.youtube.com/embed/n2wGtlfD19w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Webber gave the rights for the first amateur production to the Oakland School for the Arts, because producer and Curran Theater owner Carole Shorenstein Hays suggested the school to Webber, and then she invited the students to stage the show at the Curran.\u003c/p>\n\u003cp>But it was a bit of a dilemma for School for the Arts staff. Musicals are so logistically challenging that even this school, which is devoted to the performing arts, had decided to do a musical every other year only. This was supposed to be a down year.\u003c/p>\n\u003cp>“The academic teachers don’t have this on their calendar,” principal Donn Harris said. “And I come in and say, we’re going to charge ahead. So I’ve got to smooth those waters.”\u003c/p>\n\u003cp>But then Harris explains why he couldn’t pass up the offer. “Maybe there’s some competitive fire with those other schools that didn’t get it.”\u003c/p>\n\u003cp>Normally, musicals take five to six months to produce, but theater teacher and director Michael Berry says they’ve done this show in just over seven weeks, with the student performers rehearsing six and seven days a week.\u003c/p>\n\u003cfigure id=\"attachment_11370313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370313\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg\" alt=\"Oakland School for the Arts theater teacher Michael Berry\" width=\"640\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-787x600.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1920x1463.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-960x732.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts theater teacher Michael Berry \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is what arts education is about,” Berry said. “Most of these kids are not going to go on to the performing arts, but this experience is something they’ll carry with them for a lifetime.”\u003c/p>\n\u003cp>That’s certainly true for School for the Arts Stage Manager Isabel Gartland. She was in NYC with her family, and got to shadow the stage hands and Broadway production stage manager.\u003c/p>\n\u003cp>“It’s a great opportunity for us to see what it’s like to be in the theater industry.” Gartland said. “Instead of being in just a high school production, because this seems much bigger than a high school production.”\u003c/p>\n\u003cp>Webber says he’s thrilled the kids are enjoying themselves. It’s exactly what he had in mind when he made \u003cem>School of Rock\u003c/em> available for youth theater productions.\u003c/p>\n\u003cp>“It empowers,” Webber said. “And that’s why I want the kids to perform the piece. And have fun with it. And that’s the most important thing. To have fun with it. To rock out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One disappointment for anyone who was hoping to catch \u003cem>School of Rock\u003c/em> without going to New York, or waiting a few years for a touring company to come to San Francisco, you’re probably out of luck. The Oakland School for the Arts shows are sold out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What We Learn from Sylvester's Mighty Real Resurrection",
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"content": "\u003cp>There are so many images of salvation in art that we forget just how difficult they are to achieve—as if giving meaning to suffering could ever be easy. Catching the moment when pain turns transcendent and worthy of an audience—worthy of witnesses—is a strange alchemy.\u003c/p>\n\u003cp>\u003cem>Mighty Real\u003c/em>, a sly and affecting jukebox musical about the androgynous, falsetto voiced disco crooner Sylvester, does just that. With the lightest of touches, the musical leads you into a world of casual cruelties and then shows you a way out, or at least one of which Sylvester might have imagined and approved.\u003c/p>\n\u003cp>Anthony Wayne’s book and Kendrell Bowman’s direction are a bit underdeveloped at times. But the whole of the experience is powerful and kind of amazing in its way. And what’s there is fully present and alive: Sylvester’s music, a whip sharp five-piece band, backup singers with monster voices, and the tawdry glamour of disco.\u003c/p>\n\u003cp>Right from the beginning, the show joyously taunts death. Sylvester’s disembodied voice announces that he died too soon, that “life is for the living,” and that he wishes for one more night “to shine under that great disco ball, one more moment to light up the night and set this world on fire!” And then he’s there, center stage, cat-quick in sparkles and fur. And you feel as if it happened: Sylvester has risen, alive and resplendent.\u003c/p>\n\u003cp>Like the New Testament and the lives of saints, \u003cem>Mighty Real\u003c/em> chronicles an exceptional man’s life and death, and then somehow seeks to find inspiration and solace from both. Its melding of concert and biography takes the star’s hits and turns them into a set of propositions about the world—a philosophy of love and care that’s shocking in its ability to brush aside the most savage betrayals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When an elder member of the Pentecostal Church Sylvester’s family treated as a second home seduces him, Sylvester celebrates the encounter as an ecstatic sexual awakening. As he recounts it, a bass guitar thumping in the background, you can’t believe that someone could feel in quite this way. To then hear “I Need You” and “Do You Want to Funk” is to feel that you missed something crucial in Sylvester’s performance of these songs. Not a hidden biography, but rather a philosophy of being capable of seeing goodness everywhere, even in his own sexual molestation.\u003c/p>\n\u003cfigure id=\"attachment_11357907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357907\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg\" alt=\"Anthony Wayne as Sylvester. Photo: Joan Marcus\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wayne as Sylvester in ‘Mighty Real’. Photo: Joan Marcus\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the only moment where Sylvester eschews anger and outrage for love and joy. Even the clichéd tropes of show business are paths to enlightenment. When his backup singers, Martha and Izora, leave him, all three of them sing “A Song for You” with the haunting, almost paradoxical refrain, “we were alone and I’m singing this song for you.” Wayne, Anastacia McCleskey, and Jacqueline B. Arnold perform the number with a grace that suggests they are not only recognizing the inevitability of parting, but also its refutation in art. As with much of \u003cem>Mighty Real\u003c/em>, even a standard bit of show biz fodder shimmers between reality and myth, and it takes you aback.\u003c/p>\n\u003cp>You realize that Wayne and Bowman understand the pleasures of the jukebox musical, and are deploying them in ambitious and daring ways. When the show kicks into high gear and takes on the wild energy of a concert, the music stops and the AIDS stories begin—Sylvester’s lovers, friends, those he nursed, and eventually his own diagnosis and death. And then the concert begins again. But we’ve been marked, and it changes how we listen to the music. The vaulting and excessive energy of disco, the way the music seems devoid of irony, takes on a touching heroism here—a belief that the world can and should be fabulous, even in the face of imminent death.\u003c/p>\n\u003cp>None of this would work, though, without Wayne’s magnificent performance in the title role. It’s not a canny imitation of the pop star, but instead a full embrace of what it must have felt like to be Sylvester, a kind of bearing of the cross. So that when he tells us of his death—dressed in a silk feather duster, as if an angel descended from heaven—we feel both a loss and a way forward.\u003c/p>\n\u003cp>And so in the last two burn-the-house-down numbers—“Dance (Disco Heat)” and “Mighty Real”—we get something close to instructions. First, we must dance. But then as the dead and ascending Sylvester sings the title song, it all becomes dazzlingly clear. Only in our presence can the singer be “mighty real.” Dead or alive, the spirit of Sylvester has always resided in those who listened and heard everything that his music had to offer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mighty Real, A Fabulous Sylvester Musical\u003c/em> runs through March 13 at the Brava Theater Center in San Francisco. For tickets and information go to www.brava.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many images of salvation in art that we forget just how difficult they are to achieve—as if giving meaning to suffering could ever be easy. Catching the moment when pain turns transcendent and worthy of an audience—worthy of witnesses—is a strange alchemy.\u003c/p>\n\u003cp>\u003cem>Mighty Real\u003c/em>, a sly and affecting jukebox musical about the androgynous, falsetto voiced disco crooner Sylvester, does just that. With the lightest of touches, the musical leads you into a world of casual cruelties and then shows you a way out, or at least one of which Sylvester might have imagined and approved.\u003c/p>\n\u003cp>Anthony Wayne’s book and Kendrell Bowman’s direction are a bit underdeveloped at times. But the whole of the experience is powerful and kind of amazing in its way. And what’s there is fully present and alive: Sylvester’s music, a whip sharp five-piece band, backup singers with monster voices, and the tawdry glamour of disco.\u003c/p>\n\u003cp>Right from the beginning, the show joyously taunts death. Sylvester’s disembodied voice announces that he died too soon, that “life is for the living,” and that he wishes for one more night “to shine under that great disco ball, one more moment to light up the night and set this world on fire!” And then he’s there, center stage, cat-quick in sparkles and fur. And you feel as if it happened: Sylvester has risen, alive and resplendent.\u003c/p>\n\u003cp>Like the New Testament and the lives of saints, \u003cem>Mighty Real\u003c/em> chronicles an exceptional man’s life and death, and then somehow seeks to find inspiration and solace from both. Its melding of concert and biography takes the star’s hits and turns them into a set of propositions about the world—a philosophy of love and care that’s shocking in its ability to brush aside the most savage betrayals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When an elder member of the Pentecostal Church Sylvester’s family treated as a second home seduces him, Sylvester celebrates the encounter as an ecstatic sexual awakening. As he recounts it, a bass guitar thumping in the background, you can’t believe that someone could feel in quite this way. To then hear “I Need You” and “Do You Want to Funk” is to feel that you missed something crucial in Sylvester’s performance of these songs. Not a hidden biography, but rather a philosophy of being capable of seeing goodness everywhere, even in his own sexual molestation.\u003c/p>\n\u003cfigure id=\"attachment_11357907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357907\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg\" alt=\"Anthony Wayne as Sylvester. Photo: Joan Marcus\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wayne as Sylvester in ‘Mighty Real’. Photo: Joan Marcus\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the only moment where Sylvester eschews anger and outrage for love and joy. Even the clichéd tropes of show business are paths to enlightenment. When his backup singers, Martha and Izora, leave him, all three of them sing “A Song for You” with the haunting, almost paradoxical refrain, “we were alone and I’m singing this song for you.” Wayne, Anastacia McCleskey, and Jacqueline B. Arnold perform the number with a grace that suggests they are not only recognizing the inevitability of parting, but also its refutation in art. As with much of \u003cem>Mighty Real\u003c/em>, even a standard bit of show biz fodder shimmers between reality and myth, and it takes you aback.\u003c/p>\n\u003cp>You realize that Wayne and Bowman understand the pleasures of the jukebox musical, and are deploying them in ambitious and daring ways. When the show kicks into high gear and takes on the wild energy of a concert, the music stops and the AIDS stories begin—Sylvester’s lovers, friends, those he nursed, and eventually his own diagnosis and death. And then the concert begins again. But we’ve been marked, and it changes how we listen to the music. The vaulting and excessive energy of disco, the way the music seems devoid of irony, takes on a touching heroism here—a belief that the world can and should be fabulous, even in the face of imminent death.\u003c/p>\n\u003cp>None of this would work, though, without Wayne’s magnificent performance in the title role. It’s not a canny imitation of the pop star, but instead a full embrace of what it must have felt like to be Sylvester, a kind of bearing of the cross. So that when he tells us of his death—dressed in a silk feather duster, as if an angel descended from heaven—we feel both a loss and a way forward.\u003c/p>\n\u003cp>And so in the last two burn-the-house-down numbers—“Dance (Disco Heat)” and “Mighty Real”—we get something close to instructions. First, we must dance. But then as the dead and ascending Sylvester sings the title song, it all becomes dazzlingly clear. Only in our presence can the singer be “mighty real.” Dead or alive, the spirit of Sylvester has always resided in those who listened and heard everything that his music had to offer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mighty Real, A Fabulous Sylvester Musical\u003c/em> runs through March 13 at the Brava Theater Center in San Francisco. For tickets and information go to www.brava.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>featured, guide, ntv, the-do-list-featuredfeatured, guide, ntv, the-do-list-featuredKQED’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/2016/02/TDL20160226a.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RM3hj-6F1pk\u003c/p>\n\u003cp>\u003cstrong>Feb 27:\u003c/strong> The R&B band \u003ca href=\"http://www.thesuffers.com/\" target=\"_blank\" rel=\"noopener\">The Suffers\u003c/a> begins every show by thrusting their arms in the air, and then they earn that championship gesture with great shows. These are 10 very good musicians who’ve been kicking around the Houston music scene for years, but something special clicked when co-founders Adam Castaneda and Pat Kelly hooked up with Kam Franklin, a singer with a vivid voice and presence.They’re opening for Lake Street Dive at the \u003ca href=\"http://sfmasonic.com/event/lake-street-dive/\" target=\"_blank\" rel=\"noopener\">Masonic Saturday night.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KOJ57_HrWXU\u003c/p>\n\u003cp>\u003cstrong>March 1-13:\u003c/strong> \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">Cinequest\u003c/a> kicks off next week in San Jose, a festival that for 26 years has been exploring the links between technology and the movies, the original virtual reality. Co-founders Halfan Hussey and Kathleen Powell have scheduled a perfect opening night film, \u003cem>\u003ca href=\"http://www.bleeckerstreetmedia.com/eyeinthesky\" target=\"_blank\" rel=\"noopener\">Eye in the Sky,\u003c/a> \u003c/em>about drones, state assassinations and moral dilemmas, with a killer cast (sorry for the pun) in Helen Mirren (\u003cem>The Queen\u003c/em>), Aaron Paul (\u003cem>Breaking Bad\u003c/em>), and the late Alan Rickman (\u003cem>Harry Potter\u003c/em>). Cinequest’s own Maverick Studio is screening a work in progress,\u003ca href=\"http://www.mrinvinciblethemovie.com/\" target=\"_blank\" rel=\"noopener\"> \u003cem>Mr. Invincible\u003c/em>,\u003c/a> which uses a new three-screen format. Also worth a look: \u003cem>\u003ca href=\"https://www.facebook.com/FRIENDSEFFINGFRIENDSEFFINGFRIENDS/\" target=\"_blank\" rel=\"noopener\">Friends Effing Friends Effing Friends\u003c/a>,\u003c/em> directed by Quincy Rose, Woody Allen’s godson, and James Franco’s new film, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1735907/\" target=\"_blank\" rel=\"noopener\">The Adderall Diaries.\u003c/a> \u003c/em>Franco and Berkeley’s Rita Moreno get the festival’s Maverick Spirit awards this year. Details \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ojwANp_D_fE\u003c/p>\n\u003cp>\u003cstrong>March 3: \u003c/strong>This next item is a tribute to a female jazz pioneer, the great trombonist and arranger Melba Liston. She was one of the few women to play with the big bands in the 1940’s. She wrote a lot of music and wrote hundreds of arrangements for bands including those led by Quincy Jones, Dizzy Gillespie and Randy Weston. Now the young Bay Area raised trombonist \u003ca href=\"https://www.youtube.com/watch?v=ojwANp_D_fE\" target=\"_blank\" rel=\"noopener\">Natalie Cressman\u003c/a> is doing a tribute to Liston. She told us she’s been writing out Liston’s arrangement by listening to Liston’s old recordings, because very few of her charts are available. Cressman says she’s in awe of the the detail in the charts.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because she came up playing not the lead part but in the section,” Cressman says, “that kind of gave her this perspective of wanting to make every single part beautiful. Because she found herself being bored sometimes playing those stock arrangements, she wanted to make all the parts free and special. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0303/natalie-cressman\" target=\"_blank\" rel=\"noopener\">Cressman and her band play the Joe Henderson Lab at SFJAZZ Thursday night.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLR3Bsdu36k\u003c/p>\n\u003cp>\u003cstrong>March 10-12:\u003c/strong> We’re looking a little bit ahead now with a \u003cstrong>FAR-OUT!\u003c/strong> selection — a show you should get tickets for early, or risk a sellout. It’s the annual visit to the Bay Area by the \u003ca href=\"https://www.facebook.com/BillTJonesArnieZaneDanceCompany/\" target=\"_blank\" rel=\"noopener\">Bill T. Jones/Arnie Zane Dance Company\u003c/a>. They’re doing a YBCA co-commission, a piece based on an oral history Jones did with Dora Amelan, a French Jewish nurse and social worker who somehow survived World War II. \u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=20511\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11359650\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11359650 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg\" alt=\"Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín's "Silence."\" width=\"640\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-960x564.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín’s “Silence.” \u003ccite>(Photo Credit: Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 3:\u003c/strong> There’s been something great in every show I’ve seen at \u003ca href=\"http://zspace.org/w4w\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — that’s the company that puts short stories on the stage, word for word from the original text, and makes it work as great drama. The company is opening a new show, a pair of stories: one by \u003ca href=\"http://www.emmadonoghue.com/\" target=\"_blank\" rel=\"noopener\">Emma Donoghue \u003c/a>and one by \u003ca href=\"http://www.colmtoibin.com/\" target=\"_blank\" rel=\"noopener\">Colm Tóibín\u003c/a>. There’s a surprising Academy Awards connection for these two authors. Toibin wrote the novel \u003cem>Brooklyn\u003c/em>, and Donoghue wrote \u003cem>Room \u003c/em>— both nominated for \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\" rel=\"noopener\">best picture awards\u003c/a>. Here are the details for Word for Word’s \u003cem>\u003ca href=\"http://zspace.org/w4w/donoghue-and-toibin\" target=\"_blank\" rel=\"noopener\">Stories by Emma Donoghue and Colm Tóibín\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d0BNwyrEDiA\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 26: \u003c/strong>Kid Cudi is a Speedin’ Bullet 2 Heaven. At least that’s the name of his newest album and current tour. This avatar of trippy hip-hop is embracing positivity, and his own quirks with half sung, half chanted lyrics like “I’m what you made, God / F— yes, I’m so odd.” We like odd here at The Do List. Details \u003ca href=\"http://sfmasonic.com/event/kid-cudi/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp> \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RM3hj-6F1pk'\n title='//www.youtube.com/embed/RM3hj-6F1pk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb 27:\u003c/strong> The R&B band \u003ca href=\"http://www.thesuffers.com/\" target=\"_blank\" rel=\"noopener\">The Suffers\u003c/a> begins every show by thrusting their arms in the air, and then they earn that championship gesture with great shows. These are 10 very good musicians who’ve been kicking around the Houston music scene for years, but something special clicked when co-founders Adam Castaneda and Pat Kelly hooked up with Kam Franklin, a singer with a vivid voice and presence.They’re opening for Lake Street Dive at the \u003ca href=\"http://sfmasonic.com/event/lake-street-dive/\" target=\"_blank\" rel=\"noopener\">Masonic Saturday night.\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/KOJ57_HrWXU'\n title='//www.youtube.com/embed/KOJ57_HrWXU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 1-13:\u003c/strong> \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">Cinequest\u003c/a> kicks off next week in San Jose, a festival that for 26 years has been exploring the links between technology and the movies, the original virtual reality. Co-founders Halfan Hussey and Kathleen Powell have scheduled a perfect opening night film, \u003cem>\u003ca href=\"http://www.bleeckerstreetmedia.com/eyeinthesky\" target=\"_blank\" rel=\"noopener\">Eye in the Sky,\u003c/a> \u003c/em>about drones, state assassinations and moral dilemmas, with a killer cast (sorry for the pun) in Helen Mirren (\u003cem>The Queen\u003c/em>), Aaron Paul (\u003cem>Breaking Bad\u003c/em>), and the late Alan Rickman (\u003cem>Harry Potter\u003c/em>). Cinequest’s own Maverick Studio is screening a work in progress,\u003ca href=\"http://www.mrinvinciblethemovie.com/\" target=\"_blank\" rel=\"noopener\"> \u003cem>Mr. Invincible\u003c/em>,\u003c/a> which uses a new three-screen format. Also worth a look: \u003cem>\u003ca href=\"https://www.facebook.com/FRIENDSEFFINGFRIENDSEFFINGFRIENDS/\" target=\"_blank\" rel=\"noopener\">Friends Effing Friends Effing Friends\u003c/a>,\u003c/em> directed by Quincy Rose, Woody Allen’s godson, and James Franco’s new film, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1735907/\" target=\"_blank\" rel=\"noopener\">The Adderall Diaries.\u003c/a> \u003c/em>Franco and Berkeley’s Rita Moreno get the festival’s Maverick Spirit awards this year. Details \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ojwANp_D_fE'\n title='//www.youtube.com/embed/ojwANp_D_fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 3: \u003c/strong>This next item is a tribute to a female jazz pioneer, the great trombonist and arranger Melba Liston. She was one of the few women to play with the big bands in the 1940’s. She wrote a lot of music and wrote hundreds of arrangements for bands including those led by Quincy Jones, Dizzy Gillespie and Randy Weston. Now the young Bay Area raised trombonist \u003ca href=\"https://www.youtube.com/watch?v=ojwANp_D_fE\" target=\"_blank\" rel=\"noopener\">Natalie Cressman\u003c/a> is doing a tribute to Liston. She told us she’s been writing out Liston’s arrangement by listening to Liston’s old recordings, because very few of her charts are available. Cressman says she’s in awe of the the detail in the charts.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because she came up playing not the lead part but in the section,” Cressman says, “that kind of gave her this perspective of wanting to make every single part beautiful. Because she found herself being bored sometimes playing those stock arrangements, she wanted to make all the parts free and special. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0303/natalie-cressman\" target=\"_blank\" rel=\"noopener\">Cressman and her band play the Joe Henderson Lab at SFJAZZ Thursday night.\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/wLR3Bsdu36k'\n title='//www.youtube.com/embed/wLR3Bsdu36k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 10-12:\u003c/strong> We’re looking a little bit ahead now with a \u003cstrong>FAR-OUT!\u003c/strong> selection — a show you should get tickets for early, or risk a sellout. It’s the annual visit to the Bay Area by the \u003ca href=\"https://www.facebook.com/BillTJonesArnieZaneDanceCompany/\" target=\"_blank\" rel=\"noopener\">Bill T. Jones/Arnie Zane Dance Company\u003c/a>. They’re doing a YBCA co-commission, a piece based on an oral history Jones did with Dora Amelan, a French Jewish nurse and social worker who somehow survived World War II. \u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=20511\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11359650\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11359650 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg\" alt=\"Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín's "Silence."\" width=\"640\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-960x564.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín’s “Silence.” \u003ccite>(Photo Credit: Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 3:\u003c/strong> There’s been something great in every show I’ve seen at \u003ca href=\"http://zspace.org/w4w\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — that’s the company that puts short stories on the stage, word for word from the original text, and makes it work as great drama. The company is opening a new show, a pair of stories: one by \u003ca href=\"http://www.emmadonoghue.com/\" target=\"_blank\" rel=\"noopener\">Emma Donoghue \u003c/a>and one by \u003ca href=\"http://www.colmtoibin.com/\" target=\"_blank\" rel=\"noopener\">Colm Tóibín\u003c/a>. There’s a surprising Academy Awards connection for these two authors. Toibin wrote the novel \u003cem>Brooklyn\u003c/em>, and Donoghue wrote \u003cem>Room \u003c/em>— both nominated for \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\" rel=\"noopener\">best picture awards\u003c/a>. Here are the details for Word for Word’s \u003cem>\u003ca href=\"http://zspace.org/w4w/donoghue-and-toibin\" target=\"_blank\" rel=\"noopener\">Stories by Emma Donoghue and Colm Tóibín\u003c/a>.\u003c/em>\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/d0BNwyrEDiA'\n title='//www.youtube.com/embed/d0BNwyrEDiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 26: \u003c/strong>Kid Cudi is a Speedin’ Bullet 2 Heaven. At least that’s the name of his newest album and current tour. This avatar of trippy hip-hop is embracing positivity, and his own quirks with half sung, half chanted lyrics like “I’m what you made, God / F— yes, I’m so odd.” We like odd here at The Do List. Details \u003ca href=\"http://sfmasonic.com/event/kid-cudi/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Danny Scheie looks like butter definitely \u003cem>would\u003c/em> melt in his mouth — and drizzle down his chin in greasy rivulets — in this odd but weirdly hypnotic preview trailer for \u003cem>A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/em>. The stage comedy by esteemed San Francisco playwright Peter Sinn Nachtrieb stars Scheie, and is about to receive its world premiere at Z Space.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=cJTngYUWuOk%20\">https://www.youtube.com/watch?v=cJTngYUWuOk%20\u003c/a>\u003c/p>\n\u003cp>We’re not quite sure what the veteran local actor is up to with those two innocent cubes of butter as the oom-pah-pah strains of Johann Strauss’ \u003cem>Blue Danube Waltz\u003c/em> play jovially in the background. But judging by the look on Scheie’s face, this particular “house tour” isn’t much like the sort of thing you’d get from a San Francisco realtor.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The show runs Monday, Mar. 29 – Saturday, Apr. 23 at Z Space in San Francisco. Information \u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Danny Scheie looks like butter definitely \u003cem>would\u003c/em> melt in his mouth — and drizzle down his chin in greasy rivulets — in this odd but weirdly hypnotic preview trailer for \u003cem>A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry\u003c/em>. The stage comedy by esteemed San Francisco playwright Peter Sinn Nachtrieb stars Scheie, and is about to receive its world premiere at Z Space.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=cJTngYUWuOk%20\">https://www.youtube.com/watch?v=cJTngYUWuOk%20\u003c/a>\u003c/p>\n\u003cp>We’re not quite sure what the veteran local actor is up to with those two innocent cubes of butter as the oom-pah-pah strains of Johann Strauss’ \u003cem>Blue Danube Waltz\u003c/em> play jovially in the background. But judging by the look on Scheie’s face, this particular “house tour” isn’t much like the sort of thing you’d get from a San Francisco realtor.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The show runs Monday, Mar. 29 – Saturday, Apr. 23 at Z Space in San Francisco. Information \u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "George C. Wolfe’s ‘The Colored Museum’ Still Resonates Strongly in ‘Black Lives Matter’ Era",
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"content": "\u003cp>When George C. Wolfe wrote \u003cem>The Colored Museum\u003c/em>, his seminal pop-culture-infused play detailing with panoramic wit and passion the black experience in America, it was 1986, and African-Americans were starting to emerge as a mainstream cultural force in this country. Michael Jackson’s \u003cem>Thriller\u003c/em> blew all previous album sales records apart soon after being released in 1982; Alice Walker received the Pulitzer Prize for her novel \u003cem>The Color Purple\u003c/em> in 1983; and in 1986, people across the U.S. celebrated Martin Luther King Jr. Day for the first time.\u003c/p>\n\u003cp>But this long overdue emergence was offset by massive challenges, like the burgeoning crack cocaine epidemic among the urban black communities across the land, as well as mushrooming homicide rates for young black males, weapons arrests and kids in foster care.\u003c/p>\n\u003cfigure id=\"attachment_11357077\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357077\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-800x526.jpg\" alt=\"Clara McDaniel as Aunt Ethel in “Cooking with Aunt Ethel” segment of ‘The Colored Museum’\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clara McDaniel as Aunt Ethel in “Cooking with Aunt Ethel” segment of ‘The Colored Museum’ \u003ccite>(Photo: Lance Huntley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against this backdrop, it’s no surprise that Wolfe’s acerbic comedy went on to become as much an American theater classic as Lorraine Hansberry’s \u003cem>A Rain in the Sun\u003c/em> did after it premiered roughly a quarter of a century earlier — or indeed that Wolfe devotes one of his 90-minute play’s 11 vaudeville-meets-sitcom-style vignettes (or “exhibits” as the sections are dubbed in the show’s framework) to making fun of Hansberry’s drama.\u003c/p>\n\u003cp>Hansberry broke new ground with her work which chronicles a black family in Chicago’s attempt to rise up in the world following an insurance payout from the death of the family patriarch. The play became a model for subsequent African-American dramatists. Wolfe cracks the formula open with the sarcastic promise to present ”a searing, domestic drama that tears at the very fabric of racist America.”\u003c/p>\n\u003cp>“The issue raised by his Hansberry parody percolates in every sketch,” wrote \u003cem>New York Times\u003c/em> theater critic in his review of the original production of \u003cem>The Colored Museum\u003c/em> at The Public Theater (where Wolfe would go on to serve as the producer for nearly a decade starting in 1993). “How do American black men and women at once honor and escape the legacy of suffering that is the baggage of their past?”\u003c/p>\n\u003cfigure id=\"attachment_11357079\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357079\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-800x514.jpg\" alt=\"Paige Mayes as Normal Jean in the “Permutations” segment of ‘The Colored Museum’\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-1180x758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-1920x1233.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-960x617.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paige Mayes as Normal Jean in the “Permutations” segment of ‘The Colored Museum’ \u003ccite>(Photo: Lance Huntley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A vibrant new production of the play currently underway at the Buriel Clay Theater under the auspices of the African-American Shakespeare Company shows the issues Wolfe was dealing with back in the 1980s are still very prescient today, even as the Black Lives Matter movement gathers traction. A quartet of great, local directors — Velina Brown, L. Peter Callender, Edris Cooper-Anifowoshe, and Michael Gene Sullivan — emphasize what’s fresh and current in this work, whether it’s about sending up old-fashioned, hopelessly racist minstrel shows (as in the skit “Cookin’ With Aunt Ethel,”) or, in “Git on Board,” employing sarcastic silliness when a flight attendant demands that the passengers of a slave ship fasten their shackles and refrain from drumming in economy class.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Colored Museum, plays through Sunday, Mar. 13 at the Buriel Clay Theater in San Francisco. For more information, go \u003ca href=\"http://www.african-americanshakes.org/productions/the-colored-museum/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When George C. Wolfe wrote \u003cem>The Colored Museum\u003c/em>, his seminal pop-culture-infused play detailing with panoramic wit and passion the black experience in America, it was 1986, and African-Americans were starting to emerge as a mainstream cultural force in this country. Michael Jackson’s \u003cem>Thriller\u003c/em> blew all previous album sales records apart soon after being released in 1982; Alice Walker received the Pulitzer Prize for her novel \u003cem>The Color Purple\u003c/em> in 1983; and in 1986, people across the U.S. celebrated Martin Luther King Jr. Day for the first time.\u003c/p>\n\u003cp>But this long overdue emergence was offset by massive challenges, like the burgeoning crack cocaine epidemic among the urban black communities across the land, as well as mushrooming homicide rates for young black males, weapons arrests and kids in foster care.\u003c/p>\n\u003cfigure id=\"attachment_11357077\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357077\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-800x526.jpg\" alt=\"Clara McDaniel as Aunt Ethel in “Cooking with Aunt Ethel” segment of ‘The Colored Museum’\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_cutouts-e1456365060459-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clara McDaniel as Aunt Ethel in “Cooking with Aunt Ethel” segment of ‘The Colored Museum’ \u003ccite>(Photo: Lance Huntley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Against this backdrop, it’s no surprise that Wolfe’s acerbic comedy went on to become as much an American theater classic as Lorraine Hansberry’s \u003cem>A Rain in the Sun\u003c/em> did after it premiered roughly a quarter of a century earlier — or indeed that Wolfe devotes one of his 90-minute play’s 11 vaudeville-meets-sitcom-style vignettes (or “exhibits” as the sections are dubbed in the show’s framework) to making fun of Hansberry’s drama.\u003c/p>\n\u003cp>Hansberry broke new ground with her work which chronicles a black family in Chicago’s attempt to rise up in the world following an insurance payout from the death of the family patriarch. The play became a model for subsequent African-American dramatists. Wolfe cracks the formula open with the sarcastic promise to present ”a searing, domestic drama that tears at the very fabric of racist America.”\u003c/p>\n\u003cp>“The issue raised by his Hansberry parody percolates in every sketch,” wrote \u003cem>New York Times\u003c/em> theater critic in his review of the original production of \u003cem>The Colored Museum\u003c/em> at The Public Theater (where Wolfe would go on to serve as the producer for nearly a decade starting in 1993). “How do American black men and women at once honor and escape the legacy of suffering that is the baggage of their past?”\u003c/p>\n\u003cfigure id=\"attachment_11357079\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357079\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-800x514.jpg\" alt=\"Paige Mayes as Normal Jean in the “Permutations” segment of ‘The Colored Museum’\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-1180x758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-1920x1233.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/the-colored-museum_egg-e1456365227192-960x617.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paige Mayes as Normal Jean in the “Permutations” segment of ‘The Colored Museum’ \u003ccite>(Photo: Lance Huntley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A vibrant new production of the play currently underway at the Buriel Clay Theater under the auspices of the African-American Shakespeare Company shows the issues Wolfe was dealing with back in the 1980s are still very prescient today, even as the Black Lives Matter movement gathers traction. A quartet of great, local directors — Velina Brown, L. Peter Callender, Edris Cooper-Anifowoshe, and Michael Gene Sullivan — emphasize what’s fresh and current in this work, whether it’s about sending up old-fashioned, hopelessly racist minstrel shows (as in the skit “Cookin’ With Aunt Ethel,”) or, in “Git on Board,” employing sarcastic silliness when a flight attendant demands that the passengers of a slave ship fasten their shackles and refrain from drumming in economy class.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp style=\"color: #000000\">For the first time ever, extraordinary Spanish Gypsy singer \u003cstrong>Esperanza Fernández\u003c/strong> will join in a sizzling collaboration with a giant of Latin Jazz, Cuban pianist \u003cstrong>Gonzalo Rubalcaba\u003c/strong> at the \u003cstrong>\u003ca href=\"http://www.bayareaflamencofestival.org/\" target=\"_blank\">11th Annual Bay Area Flamenco Festival\u003c/a>. \u003c/strong>Together they will celebrate the inimitable Cuban singer Beny Moré and his Spanish Gypsy counterpoint, the revered flamenco cantaor Manolo Caracol. Sound exciting? We've got two pair of VIP tickets (value $125 each) to give away.\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of winning them, just send an email to \u003ca href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"¡Oh Vida!\" that contains your full name.\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select two winners for a pair of tickets. \u003cstrong>Deadline to enter is Wednesday, March 2 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Thursday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003ca href=\"http://bayareaflamencofestival.org/Oh_Vida.html\" target=\"_blank\">\u003cem>“¡Oh Vida! \u003c/em>with Gonzalo Rubalcaba and Esperanza Fernandez\u003c/a>\u003cem>\u003ca style=\"color: #114999\" href=\"http://bayareaflamencofestival.org/Oh_Vida.html\" target=\"_blank\">\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>Wednesday, March 9 at 8pm\u003cbr>\n\u003c/b>\u003cstrong>\u003ca href=\"http://sfwmpac.org/herbst-theatre\" target=\"_blank\">Herbst Theater\u003c/a>\u003c/strong>\u003cbr>\n\u003cspan class=\"street-address\">401 Van Ness Avenue, Room 110\u003c/span>\u003cbr>\n\u003cspan class=\"locality\">San Francisco\u003c/span> \u003cspan class=\"region\">CA\u003c/span> \u003cspan class=\"postal-code\">94102\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>Now through Sunday, Apr. 10: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9313.asp\" target=\"_blank\" rel=\"noopener\">Macbeth\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003cbr>\n\u003c/strong>Frances McDormand (\u003cem>Fargo\u003c/em>, \u003cem>Hail, Caesar!\u003c/em>) and Conleth Hill (\u003cem>Game of Thrones\u003c/em>) star in a production of Shakespeare’s tragedy of ambition directed by Daniel Sullivan.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=jl6c3AXv_MI\">https://www.youtube.com/watch?v=jl6c3AXv_MI\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Now through Friday, Jul. 1: \u003cem>\u003ca href=\"http://www.pacegallery.com/arttechnology/exhibitions/12781/living-digital-space-and-future-parks\" target=\"_blank\" rel=\"noopener\">Living Digital Space and Future Parks\u003c/a>\u003c/em> at Pace Art + Technology, Menlo Park\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">An immersive-interactive light, sound and video exhibition featuring 20 works by the members of teamLab, a 400-member art collective based in Tokyo.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 28: Opera Parallele’s \u003cem>\u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion an Opera in Jazz\u003c/a>\u003c/em> at SFJAZZ, San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">San Francisco’s jazz center and one of the region’s most cutting-edge contemporary opera companies present jazz trumpeter and composer Terence Blanchard’s opera about bisexual boxer Emile Griffith.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 19: \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/arts-entertainment/call-your-girlfriend/\" target=\"_blank\" rel=\"noopener\">Call your Girlfriend\u003c/a>\u003c/em> at the Jewish Community Center, San Francisco \u003c/strong>\u003cbr>\nSan Francisco’s JCC presents a live podcast taping (and webstream) of the whip-smart, feminism-infused pop culture podcast created by NYmag.com columnist Ann Friedman, digital strategist/Forbes “30 Under 30” recipient Aminatou Sow and radio producer Gina Delvac.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Mar. 3 – 12: Oakland School for the Arts’ \u003cem>\u003ca href=\"http://sfcurran.com/event/school-of-rock-the-musical-youth-production/\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>\u003c/em> at the Curran Theatre, San Francisco\u003c/strong>\u003cbr>\nOSA snagged the rights to the first ever amateur production of this hit Broadway musical based on the 2003 movie starring Jack Black as a rock guitarist who finds himself working as a substitute teacher at an elementary school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Now through Sunday, Apr. 10: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9313.asp\" target=\"_blank\" rel=\"noopener\">Macbeth\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003cbr>\n\u003c/strong>Frances McDormand (\u003cem>Fargo\u003c/em>, \u003cem>Hail, Caesar!\u003c/em>) and Conleth Hill (\u003cem>Game of Thrones\u003c/em>) star in a production of Shakespeare’s tragedy of ambition directed by Daniel Sullivan.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=jl6c3AXv_MI\">https://www.youtube.com/watch?v=jl6c3AXv_MI\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Now through Friday, Jul. 1: \u003cem>\u003ca href=\"http://www.pacegallery.com/arttechnology/exhibitions/12781/living-digital-space-and-future-parks\" target=\"_blank\" rel=\"noopener\">Living Digital Space and Future Parks\u003c/a>\u003c/em> at Pace Art + Technology, Menlo Park\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">An immersive-interactive light, sound and video exhibition featuring 20 works by the members of teamLab, a 400-member art collective based in Tokyo.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 28: Opera Parallele’s \u003cem>\u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion an Opera in Jazz\u003c/a>\u003c/em> at SFJAZZ, San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">San Francisco’s jazz center and one of the region’s most cutting-edge contemporary opera companies present jazz trumpeter and composer Terence Blanchard’s opera about bisexual boxer Emile Griffith.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 19: \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/arts-entertainment/call-your-girlfriend/\" target=\"_blank\" rel=\"noopener\">Call your Girlfriend\u003c/a>\u003c/em> at the Jewish Community Center, San Francisco \u003c/strong>\u003cbr>\nSan Francisco’s JCC presents a live podcast taping (and webstream) of the whip-smart, feminism-infused pop culture podcast created by NYmag.com columnist Ann Friedman, digital strategist/Forbes “30 Under 30” recipient Aminatou Sow and radio producer Gina Delvac.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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