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"content": "\u003cp>San Francisco’s Brava Theater announced this week that it’s expanding its Mission District space after its organizers learned it was receiving a $200,000-grant from the city’s Super Bowl 50 host committee.\u003c/p>\n\u003cp>On Monday, the 50 Fund, a philanthropic initiative set up by the San Francisco Bay Area Super Bowl 50 Host Committee, announced it was awarding \u003ca href=\"http://www.sfbaysuperbowl.com/7903-2#jBiheAgfTiTV7U0S.97\" target=\"_blank\" rel=\"noopener\">a total of $2 million in “Game Changer” grants\u003c/a> to nine Bay Area nonprofits. This was the second and final round of grants; early last year, the 50 Fund awarded \u003ca href=\"http://www.sfbaysuperbowl.com/50-fund-announces-game-changer-grant-recipients#Iv2XWyyFv4msBHVC.97\" target=\"_blank\" rel=\"noopener\">$2.5 million in total to five other local organizations\u003c/a>, all of which assist low income youth. According to its website, the 50 Fund has provided a grand total of $7.5 million in grants to more than 135 Bay Area nonprofits.\u003c/p>\n\u003cp>“The 50 Fund Game Changer program is all about placing big bets on organizations that are making a profound difference in the lives of our young people and in the places where they live, learn and play,” Keith Bruce, CEO of the Super Bowl 50 Host Committee, says.\u003c/p>\n\u003cp>Of the nine 50 Fund grant winners from this round, Brava! for Women in the Arts — the nonprofit started by the theater 30 years ago — is the only one that is arts-focused. The organization says it will buy and open three storefront spaces near the 90-year-old theater that have been closed for almost a decade. The expansion will allow the theater to build new dressing rooms, office space and a new cabaret space for hosting other performances, classes and other community events.\u003c/p>\n\u003cp>The theater’s organizers say that they plan to start the expansion this spring and complete it by that fall. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To learn more about Brava Theater, including upcoming events, visit \u003ca href=\"http://www.brava.org/\" target=\"_blank\" rel=\"noopener\">www.Brava.org.\u003c/a> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For a map showing all of the Bay Area organizations that have received funding from the 50 Fund, visit \u003ca href=\"http://impact.50fund.org/\" target=\"_blank\" rel=\"noopener\">imapct.50fund.org\u003c/a>. \u003c/p>\n\n",
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"description": "San Francisco's Brava Theater announced this week that it's expanding its Mission District space after its organizers learned it was receiving a $200,000-grant from the city's Super Bowl 50 host committee. On Monday, the 50 Fund, a philanthropic initiative set up by the San Francisco Bay Area Super Bowl 50 Host Committee, announced it was awarding a total of $2 million in "Game Changer" grants to nine Bay Area nonprofits. This was the second and final round of grants; early last year, the 50 Fund awarded $2.5 million in total to five other local organizations, all of which assist low",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s Brava Theater announced this week that it’s expanding its Mission District space after its organizers learned it was receiving a $200,000-grant from the city’s Super Bowl 50 host committee.\u003c/p>\n\u003cp>On Monday, the 50 Fund, a philanthropic initiative set up by the San Francisco Bay Area Super Bowl 50 Host Committee, announced it was awarding \u003ca href=\"http://www.sfbaysuperbowl.com/7903-2#jBiheAgfTiTV7U0S.97\" target=\"_blank\" rel=\"noopener\">a total of $2 million in “Game Changer” grants\u003c/a> to nine Bay Area nonprofits. This was the second and final round of grants; early last year, the 50 Fund awarded \u003ca href=\"http://www.sfbaysuperbowl.com/50-fund-announces-game-changer-grant-recipients#Iv2XWyyFv4msBHVC.97\" target=\"_blank\" rel=\"noopener\">$2.5 million in total to five other local organizations\u003c/a>, all of which assist low income youth. According to its website, the 50 Fund has provided a grand total of $7.5 million in grants to more than 135 Bay Area nonprofits.\u003c/p>\n\u003cp>“The 50 Fund Game Changer program is all about placing big bets on organizations that are making a profound difference in the lives of our young people and in the places where they live, learn and play,” Keith Bruce, CEO of the Super Bowl 50 Host Committee, says.\u003c/p>\n\u003cp>Of the nine 50 Fund grant winners from this round, Brava! for Women in the Arts — the nonprofit started by the theater 30 years ago — is the only one that is arts-focused. The organization says it will buy and open three storefront spaces near the 90-year-old theater that have been closed for almost a decade. The expansion will allow the theater to build new dressing rooms, office space and a new cabaret space for hosting other performances, classes and other community events.\u003c/p>\n\u003cp>The theater’s organizers say that they plan to start the expansion this spring and complete it by that fall. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To learn more about Brava Theater, including upcoming events, visit \u003ca href=\"http://www.brava.org/\" target=\"_blank\" rel=\"noopener\">www.Brava.org.\u003c/a> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For a map showing all of the Bay Area organizations that have received funding from the 50 Fund, visit \u003ca href=\"http://impact.50fund.org/\" target=\"_blank\" rel=\"noopener\">imapct.50fund.org\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since the ancient Greeks knew everything, they were aware of the curse of immense talent; of the hubris that often accompanies it and the dangers of how it can tempt you to fly too close to the sun. Their heroes became heroes in failure and disgrace.\u003c/p>\n\u003cp>Watch Louis Armstrong stagger into his dressing room in Terry Teachout’s \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> currently playing at the American Conservatory Theater’s Geary Stage and you know everything you need to know about how talent and fame can wreck a body and soul. But a more intriguing entrance is Taylor Mac’s in his crazily conceived, \u003cem>\u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">A 24 Decade History of Popular Music\u003c/a>, \u003c/em>on view next door at The Curran.\u003c/p>\n\u003cp>In the balcony of the Curran, as we sit on the stage and wait just a bit too long for the evening to begin, a spotlight catches Mac in a pose of ridiculous splendor. His three-foot headdress is a rainbow mass of tinkled color; his pose strangely reminiscent of the Statue of Liberty; his dress, unwieldy, garish, and beautiful. Somehow you know that the performer means to devour everything in front of him.\u003c/p>\n\u003cfigure id=\"attachment_11280234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280234 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg\" alt=\"Taylor Mac 1 - (c) Jim Norrena\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-960x640.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac, regally splendid, in his ‘A 24 Decade History of American Music.’ Photo: Jim Norrena\u003c/figcaption>\u003c/figure>\n\u003cp>Yet no matter how ferocious Mac’s assault on American song, he is clearly destined to fail—he can’t even make it to the stage without tripping over himself. And that awareness of our shared fragility is a cunning theatrical gambit. Mac turns the tragic into a state of being — thrilling, alive, and ripe for discovery. And what an odd tragedy it is: the first three hours of an eventual 24 hour performance of American popular music, decade-by-decade starting in 1776. (Mac plans to perform the show in its entirety in New York in October.) Like America itself, the pure folly of Mac’s vision is a headlong rush into disaster.\u003c/p>\n\u003cp>The first song of the evening is “Amazing Grace” and that signals Mac’s immense ambitions. The set up might seem like a joke, but there’s nothing sly or arch about the vocalist’s singing. Mac has great comic timing and often just feels funny. But the power and nimbleness of his voice ventures into wildly different registers. He sings like a hero. And you can’t quite catch whether Mac is more interested in sacrifice or salvation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So as he cycles through these old American hits, that tension takes on a peculiarly philosophical hew. Mac somehow turns “Yankee Doodle Dandy” into a founding text of American thinking, and then a rueful comment on his own drag. He weaves Thomas Paine’s “Common Sense” into song and uncovers the conflicting emotion in the 18th century political activist’s ideas that have split the country ever since.\u003c/p>\n\u003cp>His rendition of the dark folk hymn “I Will” catches the country’s vaulting ambitions and the human cost that it has always demanded. Mac is slight, lithe and sinewy, and you can’t help but think that he has felt the pain of living in a culture that values immensity. Yet here he is before us, becoming grander and grander and grander. He’s the strangest and most aware daughter of the revolution we could ever hope for.\u003c/p>\n\u003cp>Pitched somewhere between revival meeting, art stunt, philosophical lecture, and concert, Mac’s vision is full and alive even in this early state of development. You can feel something immense being born and rumbling towards its eventual destruction. Mac’s a brutal dandy intent on embracing the whole of the country in song and proclaiming, “This is mine!” And then, with greater feeling and Woody Guthrie in the distance, his performance screams “This is ours!” How will we not turn on him? How will he not turn on himself? We’ll see. As for now, his ascension is thrilling theater.\u003c/p>\n\u003cfigure id=\"attachment_11280235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280235 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-800x537.jpg\" alt=\"OBIE Award–winning John Douglas Thompson in Terry Teachout's Satchmo at the Waldorf playing at A.C.T.'s Geary Theater January 13–February 7. Photo by T. Charles Erickson.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-768x516.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis Armstrong (John Douglas Thompson) in his Waldorf dressing room in Terry Teachout’s ‘Satchmo at the Waldorf.’ Photo: T. Charles Erickson.\u003c/figcaption>\u003c/figure>\n\u003cp>We all turned on Louis Armstrong. We had to. What made the iconic trumpeter and singer great was so viciously entwined in the brutal legacy of slavery, Jim Crow laws, and the casual network of political, social, and cultural violence, that he became a necessary victim of changing times. Armstrong’s immense musical talent—he perfected both the jazz solo and scat singing—was chained to a minstrel tradition that he couldn’t help but embrace. It was just too much a part of him, like a diamond permanently encrusted in shit.\u003c/p>\n\u003cp>If you want to see what a stunning contradiction Armstrong could be, watch the 1932 short, \u003cem>Rhapsody in Black and Blue\u003c/em>. His acting and affect are all minstrel show. But when he blows that trumpet you feel the presence of another soul, a different way of being, a way forward. It was as if he was speaking two competing languages that had nothing in common.\u003c/p>\n\u003cp>In the opening moments of Terry Teachout’s \u003cem>Satchmo at the Waldorf\u003c/em>, Armstrong shoves an oxygen mask to his face. The image feels right: How could that man even breathe by the end of his life? And at that moment we’re ready for an exorcism. We want to rip him open to see if there’s anything there, to get at the talent and the embarrassment and the degradation of what Armstrong was.\u003c/p>\n\u003cp>John Douglas Thompson not only plays Armstrong, but also Miles Davis, Dizzy Gillespie, and Armstrong’s white manager, the mob-connected Joe Glaser. The Canadian-American actor has received great praise for his performance, and Thompson is clearly superb in the role. But what’s he really performing? What has \u003cem>Wall Street Journal\u003c/em> theater critic, Armstrong biographer, and first-time playwright Teachout given him to do? I would say nothing. The Armstrong he plays is the one we saw, an Uncle Tom with otherworldly talent. It’s an imitation game. And that’s not enough.\u003c/p>\n\u003cp>Teachout knows the facts. But what the dramatist doesn’t have is any feeling for the disaster of what Armstrong was. By letting him tell his own story—with a few mild critical asides from Davis and Gillespie—he misses the vastness and complexity of a life that somehow represented and continues to haunt the racial imagination of this country. Teachout might understand that intellectually, but he lacks the skill and imagination to bring any of it to theatrical life.\u003c/p>\n\u003cp>When Armstrong finally leaves the stage with his vaunted optimism in tact, the opening night crowd mightily applauded. But it was a false triumph, one that felt like a betrayal of everything Armstrong achieved and everything that made him an embarrassment. To bury conflict in reconciliation is to turn tragedy into kitsch. But what would you expect from a genre as hoary as the celebrity solo show? If Teachout learned anything from Armstrong, it is the ability to pander without regret. And for that we should bow our heads and refuse to clap.\u003c/p>\n\u003cp>So what we have in these wildly different productions are two iconic images of America: the Drag Queen and the King of Jazz. And like in chess, it is the Queen who has all the moves and daring, while the King plods from square to square dodging pawns. Maybe one day, or perhaps even towards the end of \u003cem>A 24 Decade History of Popular Music\u003c/em>, Taylor Mac might play Louis Armstrong and set the famed jazz musician free in all his talent and ugliness. Then, and only then, might we feel the truth of Armstrong and the sting and pleasures of a real American tragedy.\u003c/p>\n\u003cp>\u003cstrong>The first six hours, or decades, of Taylor Mac’s \u003cem>A 24 Decade History of Popular Music\u003c/em> plays through Saturday, Jan. 30 at the Curran Theater in San Francisco. For tickets and information visit www.sfcurran.com.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Satchmo at the Waldorf\u003c/em> plays at A.C.T.’s Geary Theater in San Francisco through Sunday, Feb. 7. For tickets and information visit www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since the ancient Greeks knew everything, they were aware of the curse of immense talent; of the hubris that often accompanies it and the dangers of how it can tempt you to fly too close to the sun. Their heroes became heroes in failure and disgrace.\u003c/p>\n\u003cp>Watch Louis Armstrong stagger into his dressing room in Terry Teachout’s \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> currently playing at the American Conservatory Theater’s Geary Stage and you know everything you need to know about how talent and fame can wreck a body and soul. But a more intriguing entrance is Taylor Mac’s in his crazily conceived, \u003cem>\u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">A 24 Decade History of Popular Music\u003c/a>, \u003c/em>on view next door at The Curran.\u003c/p>\n\u003cp>In the balcony of the Curran, as we sit on the stage and wait just a bit too long for the evening to begin, a spotlight catches Mac in a pose of ridiculous splendor. His three-foot headdress is a rainbow mass of tinkled color; his pose strangely reminiscent of the Statue of Liberty; his dress, unwieldy, garish, and beautiful. Somehow you know that the performer means to devour everything in front of him.\u003c/p>\n\u003cfigure id=\"attachment_11280234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280234 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg\" alt=\"Taylor Mac 1 - (c) Jim Norrena\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-1-c-Jim-Norrena-960x640.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac, regally splendid, in his ‘A 24 Decade History of American Music.’ Photo: Jim Norrena\u003c/figcaption>\u003c/figure>\n\u003cp>Yet no matter how ferocious Mac’s assault on American song, he is clearly destined to fail—he can’t even make it to the stage without tripping over himself. And that awareness of our shared fragility is a cunning theatrical gambit. Mac turns the tragic into a state of being — thrilling, alive, and ripe for discovery. And what an odd tragedy it is: the first three hours of an eventual 24 hour performance of American popular music, decade-by-decade starting in 1776. (Mac plans to perform the show in its entirety in New York in October.) Like America itself, the pure folly of Mac’s vision is a headlong rush into disaster.\u003c/p>\n\u003cp>The first song of the evening is “Amazing Grace” and that signals Mac’s immense ambitions. The set up might seem like a joke, but there’s nothing sly or arch about the vocalist’s singing. Mac has great comic timing and often just feels funny. But the power and nimbleness of his voice ventures into wildly different registers. He sings like a hero. And you can’t quite catch whether Mac is more interested in sacrifice or salvation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So as he cycles through these old American hits, that tension takes on a peculiarly philosophical hew. Mac somehow turns “Yankee Doodle Dandy” into a founding text of American thinking, and then a rueful comment on his own drag. He weaves Thomas Paine’s “Common Sense” into song and uncovers the conflicting emotion in the 18th century political activist’s ideas that have split the country ever since.\u003c/p>\n\u003cp>His rendition of the dark folk hymn “I Will” catches the country’s vaulting ambitions and the human cost that it has always demanded. Mac is slight, lithe and sinewy, and you can’t help but think that he has felt the pain of living in a culture that values immensity. Yet here he is before us, becoming grander and grander and grander. He’s the strangest and most aware daughter of the revolution we could ever hope for.\u003c/p>\n\u003cp>Pitched somewhere between revival meeting, art stunt, philosophical lecture, and concert, Mac’s vision is full and alive even in this early state of development. You can feel something immense being born and rumbling towards its eventual destruction. Mac’s a brutal dandy intent on embracing the whole of the country in song and proclaiming, “This is mine!” And then, with greater feeling and Woody Guthrie in the distance, his performance screams “This is ours!” How will we not turn on him? How will he not turn on himself? We’ll see. As for now, his ascension is thrilling theater.\u003c/p>\n\u003cfigure id=\"attachment_11280235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11280235 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-800x537.jpg\" alt=\"OBIE Award–winning John Douglas Thompson in Terry Teachout's Satchmo at the Waldorf playing at A.C.T.'s Geary Theater January 13–February 7. Photo by T. Charles Erickson.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/satchmo_at_the_waldorf_02_web-768x516.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louis Armstrong (John Douglas Thompson) in his Waldorf dressing room in Terry Teachout’s ‘Satchmo at the Waldorf.’ Photo: T. Charles Erickson.\u003c/figcaption>\u003c/figure>\n\u003cp>We all turned on Louis Armstrong. We had to. What made the iconic trumpeter and singer great was so viciously entwined in the brutal legacy of slavery, Jim Crow laws, and the casual network of political, social, and cultural violence, that he became a necessary victim of changing times. Armstrong’s immense musical talent—he perfected both the jazz solo and scat singing—was chained to a minstrel tradition that he couldn’t help but embrace. It was just too much a part of him, like a diamond permanently encrusted in shit.\u003c/p>\n\u003cp>If you want to see what a stunning contradiction Armstrong could be, watch the 1932 short, \u003cem>Rhapsody in Black and Blue\u003c/em>. His acting and affect are all minstrel show. But when he blows that trumpet you feel the presence of another soul, a different way of being, a way forward. It was as if he was speaking two competing languages that had nothing in common.\u003c/p>\n\u003cp>In the opening moments of Terry Teachout’s \u003cem>Satchmo at the Waldorf\u003c/em>, Armstrong shoves an oxygen mask to his face. The image feels right: How could that man even breathe by the end of his life? And at that moment we’re ready for an exorcism. We want to rip him open to see if there’s anything there, to get at the talent and the embarrassment and the degradation of what Armstrong was.\u003c/p>\n\u003cp>John Douglas Thompson not only plays Armstrong, but also Miles Davis, Dizzy Gillespie, and Armstrong’s white manager, the mob-connected Joe Glaser. The Canadian-American actor has received great praise for his performance, and Thompson is clearly superb in the role. But what’s he really performing? What has \u003cem>Wall Street Journal\u003c/em> theater critic, Armstrong biographer, and first-time playwright Teachout given him to do? I would say nothing. The Armstrong he plays is the one we saw, an Uncle Tom with otherworldly talent. It’s an imitation game. And that’s not enough.\u003c/p>\n\u003cp>Teachout knows the facts. But what the dramatist doesn’t have is any feeling for the disaster of what Armstrong was. By letting him tell his own story—with a few mild critical asides from Davis and Gillespie—he misses the vastness and complexity of a life that somehow represented and continues to haunt the racial imagination of this country. Teachout might understand that intellectually, but he lacks the skill and imagination to bring any of it to theatrical life.\u003c/p>\n\u003cp>When Armstrong finally leaves the stage with his vaunted optimism in tact, the opening night crowd mightily applauded. But it was a false triumph, one that felt like a betrayal of everything Armstrong achieved and everything that made him an embarrassment. To bury conflict in reconciliation is to turn tragedy into kitsch. But what would you expect from a genre as hoary as the celebrity solo show? If Teachout learned anything from Armstrong, it is the ability to pander without regret. And for that we should bow our heads and refuse to clap.\u003c/p>\n\u003cp>So what we have in these wildly different productions are two iconic images of America: the Drag Queen and the King of Jazz. And like in chess, it is the Queen who has all the moves and daring, while the King plods from square to square dodging pawns. Maybe one day, or perhaps even towards the end of \u003cem>A 24 Decade History of Popular Music\u003c/em>, Taylor Mac might play Louis Armstrong and set the famed jazz musician free in all his talent and ugliness. Then, and only then, might we feel the truth of Armstrong and the sting and pleasures of a real American tragedy.\u003c/p>\n\u003cp>\u003cstrong>The first six hours, or decades, of Taylor Mac’s \u003cem>A 24 Decade History of Popular Music\u003c/em> plays through Saturday, Jan. 30 at the Curran Theater in San Francisco. For tickets and information visit www.sfcurran.com.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Satchmo at the Waldorf\u003c/em> plays at A.C.T.’s Geary Theater in San Francisco through Sunday, Feb. 7. For tickets and information visit www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Broadway Hit Musical 'Hamilton' Gets Limited SF Run",
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"content": "\u003cp>\u003ca href=\"http://www.hamiltonbroadway.com/?gclid=Cj0KEQiAz5y1BRDZ4Z_K_eGa84cBEiQAtQkeaAzizs7ZPYe-uYLVaOdyIYqX2xyJ9mkMcIYPYyOoWWQaAhWX8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton \u003c/em>\u003c/a>is launching its national tour in San Francisco. The hit Broadway musical begins what’s likely to be a 21-week run in March 2017, the San Francisco-based presenter \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> announced Tuesday. The touring production then heads to the Hollywood Pantages Theater in August.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> creator\u003ca href=\"http://www.linmanuel.com/\" target=\"_blank\" rel=\"noopener\"> Lin-Manuel Miranda’s\u003c/a> innovative musical about the life of founding father Alexander Hamilton blending rap, hip-hop and jazz influences has drawn rapt audiences since it opened on Broadway last August. Tickets have been in high demand, with resale prices soaring beyond the $900 mark. The Broadway production is sold out through Oct. 30.\u003c/p>\n\u003cp>Hundreds of people have been lining up outside the Richard Rodgers Theatre in Manhattan on performance days to try their hands at winning the ticket lottery, prompting the show’s management presenter to move proceedings \u003ca href=\"http://www.playbill.com/news/article/safety-concerns-prompt-hamilton-lottery-and-ham4ham-to-go-digital-377421\">online\u003c/a> for safety reasons.\u003c/p>\n\u003cp>The show has a strong Bay Area connection: Oakland-born rapper and actor Daveed Diggs plays the leading roles in the Broadway production of the characters Marquis de Lafayette and Thomas Jefferson.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> will anchor SHN’s 2016-2017 season, joining Tony Award-winning play\u003cem> The Curious Incident of the Dog in the Night-Time\u003c/em>. Four additional Broadway productions will be announced this March. SHN member seats for the season are currently available, ranging in price from $245 to $700. Single ticket sales for \u003cem>Hamilton\u003c/em> will be announced at a later date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bay Area audiences won’t be the first to see Hamilton outside of New York City. The Broadway producers have announced an open-ended run in \u003ca href=\"http://broadwayinchicago.com/show/hamilton/\">Chicago\u003c/a> starting in Sept. 2016.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.hamiltonbroadway.com/?gclid=Cj0KEQiAz5y1BRDZ4Z_K_eGa84cBEiQAtQkeaAzizs7ZPYe-uYLVaOdyIYqX2xyJ9mkMcIYPYyOoWWQaAhWX8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton \u003c/em>\u003c/a>is launching its national tour in San Francisco. The hit Broadway musical begins what’s likely to be a 21-week run in March 2017, the San Francisco-based presenter \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> announced Tuesday. The touring production then heads to the Hollywood Pantages Theater in August.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> creator\u003ca href=\"http://www.linmanuel.com/\" target=\"_blank\" rel=\"noopener\"> Lin-Manuel Miranda’s\u003c/a> innovative musical about the life of founding father Alexander Hamilton blending rap, hip-hop and jazz influences has drawn rapt audiences since it opened on Broadway last August. Tickets have been in high demand, with resale prices soaring beyond the $900 mark. The Broadway production is sold out through Oct. 30.\u003c/p>\n\u003cp>Hundreds of people have been lining up outside the Richard Rodgers Theatre in Manhattan on performance days to try their hands at winning the ticket lottery, prompting the show’s management presenter to move proceedings \u003ca href=\"http://www.playbill.com/news/article/safety-concerns-prompt-hamilton-lottery-and-ham4ham-to-go-digital-377421\">online\u003c/a> for safety reasons.\u003c/p>\n\u003cp>The show has a strong Bay Area connection: Oakland-born rapper and actor Daveed Diggs plays the leading roles in the Broadway production of the characters Marquis de Lafayette and Thomas Jefferson.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> will anchor SHN’s 2016-2017 season, joining Tony Award-winning play\u003cem> The Curious Incident of the Dog in the Night-Time\u003c/em>. Four additional Broadway productions will be announced this March. SHN member seats for the season are currently available, ranging in price from $245 to $700. Single ticket sales for \u003cem>Hamilton\u003c/em> will be announced at a later date.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bay Area audiences won’t be the first to see Hamilton outside of New York City. The Broadway producers have announced an open-ended run in \u003ca href=\"http://broadwayinchicago.com/show/hamilton/\">Chicago\u003c/a> starting in Sept. 2016.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Talking to William Shatner About William Shatner Being 'William Shatner'",
"headTitle": "Talking to William Shatner About William Shatner Being ‘William Shatner’ | KQED",
"content": "\u003cp>\u003cstrong>“So wait a sec,”\u003c/strong> my lunchtime companion asked me. “William Shatner is actually \u003cem>calling your house\u003c/em> tomorrow?”\u003c/p>\n\u003cp>“It’s true,” I said. “What should I ask him?”\u003c/p>\n\u003cp>It was a December afternoon, and my friend burst into laughter. Not because I was interviewing William Shatner the next day—she knows I’ve interviewed hundreds of people from all walks of life—but because of something about the man himself. She threw her head back, held her arms up, and said, as if it were the only question anyone would want William Shatner to answer: “I’d just want to know when he realized that the joke’s on him.”\u003c/p>\n\u003cp>That sounds harsh. I knew what she meant, though. You know what she meant. We all know what she meant.\u003c/p>\n\u003cfigure id=\"attachment_11276538\" class=\"wp-caption aligncenter\" style=\"max-width: 606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11276538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/18332_show_landscape_large_01.jpg\" alt=\"A scene from William Shatner's one-man show, 'Shatner's World.'\" width=\"606\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/18332_show_landscape_large_01.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/18332_show_landscape_large_01-400x263.jpg 400w\" sizes=\"(max-width: 606px) 100vw, 606px\">\u003cfigcaption class=\"wp-caption-text\">A scene from William Shatner’s one-man show, ‘Shatner’s World.’ \u003ccite>(Courtesy William Shatner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The obvious reality\u003c/strong> is that William Shatner, now 84, has made a career of being “William Shatner.” He’s no longer a single person; he is himself, and also his persona. This is true of any celebrity in varying degrees, from David Bowie’s shapeshifting identities to every single carefully constructed moment in Kim Kardashian’s day, but Shatner’s case is particularly acute. Some people would call Shatner a caricature of himself, but I can’t go that far. Not until I can ask about it, at least. How do you ask someone point-blank if they’re a caricature of themselves?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The next day, five minutes before Shatner is about to call my house, I decide that’s exactly what I’ll do. I turn it over in my mind for a while. Then the phone rings.\u003c/p>\n\u003cp>“Hello Gabe!” Shatner says, deftly using my first name. (He \u003ca href=\"http://www.mercurynews.com/bay-area-living/ci_29426779/william-shatner-beams-shatners-world-into-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">does this\u003c/a>.) “What a pleasure to speak with you.”\u003c/p>\n\u003cp>I start with the basics. The whole reason Shatner’s doing this interview is \u003cem>Shatner’s World\u003c/em>, his one-man show that’s coming to the Warfield Theater in San Francisco (Saturday, Jan. 30; $39.50–$180; \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/280113\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>). I ask how hard it is to fit everything he’s done in his life and career into a two-hour show.\u003c/p>\n\u003cp>“Let me sort of straighten that out a little bit,” he says. “The one-man show, rather than being about my career or anything like that, is about the affirmation of life. Saying yes to life. Saying yes to all the wonderful things that life has, and even if they’re not wonderful, it’s part of living. So grief, and hatred, and love, and passion, those are all part of the skein of humanity, and we’re here for a very short time, and we don’t know what’s on either end. So you’d better appreciate what’s going on here by living in the moment.”\u003c/p>\n\u003cp>I quickly realize that this is not going to be an ordinary interview.\u003c/p>\n\u003cfigure id=\"attachment_11277358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11277358\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/ShatnerNimoyDragonCon.jpg\" alt=\"William Shatner and Leonard Nimoy at Dragon Con, 2009.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ShatnerNimoyDragonCon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ShatnerNimoyDragonCon-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ShatnerNimoyDragonCon-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shatner and Leonard Nimoy at Dragon Con, 2009. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The first thing I learn\u003c/strong> is that Shatner wants to be a rapper. Or a heavy metal singer. He’s recorded a handful of albums, spanning his \u003ca href=\"https://www.youtube.com/watch?v=AB3uVARNhmM\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic rendering of “Lucy in the Sky With Diamonds”\u003c/a> in the 1960s to his \u003ca href=\"https://www.youtube.com/watch?v=ainyK6fXku0\" target=\"_blank\" rel=\"noopener noreferrer\">singular version of Pulp’s “Common People”\u003c/a> in the aughts, and when I ask if he keeps up with new music he recalls that it took a while to get accustomed to rock ‘n’ roll. “Then I began, years later, to \u003cem>perform\u003c/em> rock ‘n’ roll,” he says, “and I realized it’s all about passion! It’s all about energy! It’s all about excitement! I fell in love with it. So the music today, the metallic rock, and the rapping, I… don’t quite get. But having learned from rock ‘n’ roll, I realize there’s \u003cem>something\u003c/em> going on here that I don’t quite understand, that I do want to understand, and that I do want to be able to do before it’s all over.”\u003c/p>\n\u003cp>\u003cem>Before it’s all over\u003c/em>. The words ring with mortality. I bring up Leonard Nimoy, and Shatner doesn’t beat around the bush: “The grieving process has been very hard,” he says. He likens Nimoy’s death last year to the \u003ca href=\"http://articles.latimes.com/1999/aug/11/local/me-64692\" target=\"_blank\" rel=\"noopener noreferrer\">death of his third wife\u003c/a>, Nerine, whom he married with Nimoy as his best man. As he’s on the phone with me, he says, he’s resting his hand on a photograph of his recently deceased dog, another hard loss. “But with Leonard,” he says, “we were so close, and so attuned to each other, and shared so many things that only \u003cem>we\u003c/em> went through. He was always the person I could say, ‘Remember when?…’ to. He could remind me of things we’d done that I’d completely forgotten. And now I don’t have that.”\u003c/p>\n\u003cp>This isn’t the Shatner that I know from \u003ca href=\"https://www.youtube.com/watch?v=hBNL9xx3Ie0\" target=\"_blank\" rel=\"noopener noreferrer\">television commercials\u003c/a>. It’s not the Shatner that \u003ca href=\"https://www.youtube.com/watch?v=nttXA8jYwmU\" target=\"_blank\" rel=\"noopener noreferrer\">people call\u003c/a> “the king of overacting for no apparent reason.” And yet he’s still doing it all—the pauses, the inflections, the whole schtick. But I’m starting to think it isn’t a schtick.\u003c/p>\n\u003cfigure id=\"attachment_11277356\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11277356\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/SHatnerKirk.jpg\" alt=\"William Shatner as Captain James T. Kirk on 'Star Trek.'\" width=\"600\" height=\"769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SHatnerKirk.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SHatnerKirk-400x513.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SHatnerKirk-468x600.jpg 468w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">William Shatner as Captain James T. Kirk on ‘Star Trek.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So I just ask it.\u003c/strong> As someone whose reputation certainly precedes him, who people want to be “on” all the time, how does it feel to be William Shatner, the icon, someone who’s in constant demand to portray a Shatner-esque version of himself?\u003c/p>\n\u003cp>“I know what you mean,” he says, as I quietly exhale in relief, “and I’m trying to do less of that. I’m at a point now where I’m trying to strip away the layers that some people call ‘Shatner-esque’—I don’t know what they mean by that term—and to offer a pure version of myself. That’s the most honest thing I can do. I’m trying to do less of everything, in fact. To own less of everything, to be less of everything.”\u003c/p>\n\u003cp>It sounds very zen, I say.\u003c/p>\n\u003cp>“It’s funny you ask that,” he says, “because yes, I do feel like I’m entering that phase, where that’s important. The ability to be one with something. I think of it often, as a horseman, and how in riding a horse, you’re really becoming one with the horse, united in your purpose and destination.”\u003c/p>\n\u003cp>What about regrets? Does he have any regrets? His answer, again, is pure zen.\u003c/p>\n\u003cp>“I’m at a point now where any regrets—if you’re talking about missteps, or mistakes—anything like that has made me who I am. And I’m at a very good place in my life, and at my age, too, so I wouldn’t go back and do anything again, no. If there’s anything I regret or feel bad about, it’s when I’ve learned later that I’ve hurt someone, often inadvertently.”\u003c/p>\n\u003cp>Again, he’s doing the thing. The Shatner thing. There’s \u003ca href=\"https://www.youtube.com/watch?v=dxTxX35aqZA\" target=\"_blank\" rel=\"noopener noreferrer\">a 2004 interview\u003c/a> with Shatner where an audience member begins his question by saying, “Recently you seem to have taken to a good deal of self-parody”—and Shatner cuts him off, saying, “\u003ca href=\"https://www.youtube.com/watch?v=dxTxX35aqZA\" target=\"_blank\" rel=\"noopener noreferrer\">No, that’s real, actually\u003c/a>.” It gets a laugh. But I don’t think he was joking.\u003c/p>\n\u003cp>See—Shatner’s been Shatner for so long now that he and his Shatner-esque self are one. And as he talks to me, I start to realize how terrible this must be for him. Here he is on the phone spilling his heart about the death of his best friend and his life’s regrets and his quest to offer a pure version of himself, and just because his timbre is rising and falling and he’s making those dramatic pauses, the general public’s knee-jerk reaction is: \u003cem>Oh, that wacky Priceline negotiator, so overly dramatic, always trying to go where no man has gone before.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11276542\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11276542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/William-Shatner-big.jpg\" alt='William Shatner: \"I know nothing.\"' width=\"1100\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/William-Shatner-big.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/William-Shatner-big-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/William-Shatner-big-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/William-Shatner-big-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/William-Shatner-big-960x576.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">William Shatner: “I know nothing.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Hence, take with you,\u003c/strong> if you will, the idea that William Shatner is a man trapped in the world’s perception of him. And take with you, if you will, his closing words at face value, when I remind him that many fans have learned life lessons from Captain Kirk and \u003cem>Star Trek\u003c/em>, and ask what his own biggest life lesson has been.\u003c/p>\n\u003cp>He pauses.\u003c/p>\n\u003cp>“Gabe,” he says, in low, measured tones, “the lesson is this: I… know… \u003cem>nothing\u003c/em>. You know nothing. We all know nothing. But we’re all on this Earth together, and just as I am here talking to you today, all of us have a core being within us, guiding us in life. And we must follow it. It will never lead us astray.”\u003c/p>\n\u003cp>I thank him for his time, we exchange goodbyes, and I hang up the receiver. I feel dazed. I feel enlightened. More than anything, I have a feeling that William Shatner, rather than a caricature of himself, is actually as real as it gets.\u003c/p>\n\u003cp>And as his most famous character \u003ca href=\"http://www.chakoteya.net/StarTrek/23.htm\" target=\"_blank\" rel=\"noopener noreferrer\">once said\u003c/a>, sometimes a feeling is all we humans have to go on.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>William Shatner performs ‘Shatner’s World’ on Saturday, Jan. 30, at the Warfield Theater in San Francisco. \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/280113\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>“So wait a sec,”\u003c/strong> my lunchtime companion asked me. “William Shatner is actually \u003cem>calling your house\u003c/em> tomorrow?”\u003c/p>\n\u003cp>“It’s true,” I said. “What should I ask him?”\u003c/p>\n\u003cp>It was a December afternoon, and my friend burst into laughter. Not because I was interviewing William Shatner the next day—she knows I’ve interviewed hundreds of people from all walks of life—but because of something about the man himself. She threw her head back, held her arms up, and said, as if it were the only question anyone would want William Shatner to answer: “I’d just want to know when he realized that the joke’s on him.”\u003c/p>\n\u003cp>That sounds harsh. I knew what she meant, though. You know what she meant. We all know what she meant.\u003c/p>\n\u003cfigure id=\"attachment_11276538\" class=\"wp-caption aligncenter\" style=\"max-width: 606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11276538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/18332_show_landscape_large_01.jpg\" alt=\"A scene from William Shatner's one-man show, 'Shatner's World.'\" width=\"606\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/18332_show_landscape_large_01.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/18332_show_landscape_large_01-400x263.jpg 400w\" sizes=\"(max-width: 606px) 100vw, 606px\">\u003cfigcaption class=\"wp-caption-text\">A scene from William Shatner’s one-man show, ‘Shatner’s World.’ \u003ccite>(Courtesy William Shatner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The obvious reality\u003c/strong> is that William Shatner, now 84, has made a career of being “William Shatner.” He’s no longer a single person; he is himself, and also his persona. This is true of any celebrity in varying degrees, from David Bowie’s shapeshifting identities to every single carefully constructed moment in Kim Kardashian’s day, but Shatner’s case is particularly acute. Some people would call Shatner a caricature of himself, but I can’t go that far. Not until I can ask about it, at least. How do you ask someone point-blank if they’re a caricature of themselves?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next day, five minutes before Shatner is about to call my house, I decide that’s exactly what I’ll do. I turn it over in my mind for a while. Then the phone rings.\u003c/p>\n\u003cp>“Hello Gabe!” Shatner says, deftly using my first name. (He \u003ca href=\"http://www.mercurynews.com/bay-area-living/ci_29426779/william-shatner-beams-shatners-world-into-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">does this\u003c/a>.) “What a pleasure to speak with you.”\u003c/p>\n\u003cp>I start with the basics. The whole reason Shatner’s doing this interview is \u003cem>Shatner’s World\u003c/em>, his one-man show that’s coming to the Warfield Theater in San Francisco (Saturday, Jan. 30; $39.50–$180; \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/280113\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>). I ask how hard it is to fit everything he’s done in his life and career into a two-hour show.\u003c/p>\n\u003cp>“Let me sort of straighten that out a little bit,” he says. “The one-man show, rather than being about my career or anything like that, is about the affirmation of life. Saying yes to life. Saying yes to all the wonderful things that life has, and even if they’re not wonderful, it’s part of living. So grief, and hatred, and love, and passion, those are all part of the skein of humanity, and we’re here for a very short time, and we don’t know what’s on either end. So you’d better appreciate what’s going on here by living in the moment.”\u003c/p>\n\u003cp>I quickly realize that this is not going to be an ordinary interview.\u003c/p>\n\u003cfigure id=\"attachment_11277358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11277358\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/ShatnerNimoyDragonCon.jpg\" alt=\"William Shatner and Leonard Nimoy at Dragon Con, 2009.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ShatnerNimoyDragonCon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ShatnerNimoyDragonCon-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ShatnerNimoyDragonCon-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Shatner and Leonard Nimoy at Dragon Con, 2009. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The first thing I learn\u003c/strong> is that Shatner wants to be a rapper. Or a heavy metal singer. He’s recorded a handful of albums, spanning his \u003ca href=\"https://www.youtube.com/watch?v=AB3uVARNhmM\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic rendering of “Lucy in the Sky With Diamonds”\u003c/a> in the 1960s to his \u003ca href=\"https://www.youtube.com/watch?v=ainyK6fXku0\" target=\"_blank\" rel=\"noopener noreferrer\">singular version of Pulp’s “Common People”\u003c/a> in the aughts, and when I ask if he keeps up with new music he recalls that it took a while to get accustomed to rock ‘n’ roll. “Then I began, years later, to \u003cem>perform\u003c/em> rock ‘n’ roll,” he says, “and I realized it’s all about passion! It’s all about energy! It’s all about excitement! I fell in love with it. So the music today, the metallic rock, and the rapping, I… don’t quite get. But having learned from rock ‘n’ roll, I realize there’s \u003cem>something\u003c/em> going on here that I don’t quite understand, that I do want to understand, and that I do want to be able to do before it’s all over.”\u003c/p>\n\u003cp>\u003cem>Before it’s all over\u003c/em>. The words ring with mortality. I bring up Leonard Nimoy, and Shatner doesn’t beat around the bush: “The grieving process has been very hard,” he says. He likens Nimoy’s death last year to the \u003ca href=\"http://articles.latimes.com/1999/aug/11/local/me-64692\" target=\"_blank\" rel=\"noopener noreferrer\">death of his third wife\u003c/a>, Nerine, whom he married with Nimoy as his best man. As he’s on the phone with me, he says, he’s resting his hand on a photograph of his recently deceased dog, another hard loss. “But with Leonard,” he says, “we were so close, and so attuned to each other, and shared so many things that only \u003cem>we\u003c/em> went through. He was always the person I could say, ‘Remember when?…’ to. He could remind me of things we’d done that I’d completely forgotten. And now I don’t have that.”\u003c/p>\n\u003cp>This isn’t the Shatner that I know from \u003ca href=\"https://www.youtube.com/watch?v=hBNL9xx3Ie0\" target=\"_blank\" rel=\"noopener noreferrer\">television commercials\u003c/a>. It’s not the Shatner that \u003ca href=\"https://www.youtube.com/watch?v=nttXA8jYwmU\" target=\"_blank\" rel=\"noopener noreferrer\">people call\u003c/a> “the king of overacting for no apparent reason.” And yet he’s still doing it all—the pauses, the inflections, the whole schtick. But I’m starting to think it isn’t a schtick.\u003c/p>\n\u003cfigure id=\"attachment_11277356\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11277356\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/SHatnerKirk.jpg\" alt=\"William Shatner as Captain James T. Kirk on 'Star Trek.'\" width=\"600\" height=\"769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SHatnerKirk.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SHatnerKirk-400x513.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SHatnerKirk-468x600.jpg 468w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">William Shatner as Captain James T. Kirk on ‘Star Trek.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So I just ask it.\u003c/strong> As someone whose reputation certainly precedes him, who people want to be “on” all the time, how does it feel to be William Shatner, the icon, someone who’s in constant demand to portray a Shatner-esque version of himself?\u003c/p>\n\u003cp>“I know what you mean,” he says, as I quietly exhale in relief, “and I’m trying to do less of that. I’m at a point now where I’m trying to strip away the layers that some people call ‘Shatner-esque’—I don’t know what they mean by that term—and to offer a pure version of myself. That’s the most honest thing I can do. I’m trying to do less of everything, in fact. To own less of everything, to be less of everything.”\u003c/p>\n\u003cp>It sounds very zen, I say.\u003c/p>\n\u003cp>“It’s funny you ask that,” he says, “because yes, I do feel like I’m entering that phase, where that’s important. The ability to be one with something. I think of it often, as a horseman, and how in riding a horse, you’re really becoming one with the horse, united in your purpose and destination.”\u003c/p>\n\u003cp>What about regrets? Does he have any regrets? His answer, again, is pure zen.\u003c/p>\n\u003cp>“I’m at a point now where any regrets—if you’re talking about missteps, or mistakes—anything like that has made me who I am. And I’m at a very good place in my life, and at my age, too, so I wouldn’t go back and do anything again, no. If there’s anything I regret or feel bad about, it’s when I’ve learned later that I’ve hurt someone, often inadvertently.”\u003c/p>\n\u003cp>Again, he’s doing the thing. The Shatner thing. There’s \u003ca href=\"https://www.youtube.com/watch?v=dxTxX35aqZA\" target=\"_blank\" rel=\"noopener noreferrer\">a 2004 interview\u003c/a> with Shatner where an audience member begins his question by saying, “Recently you seem to have taken to a good deal of self-parody”—and Shatner cuts him off, saying, “\u003ca href=\"https://www.youtube.com/watch?v=dxTxX35aqZA\" target=\"_blank\" rel=\"noopener noreferrer\">No, that’s real, actually\u003c/a>.” It gets a laugh. But I don’t think he was joking.\u003c/p>\n\u003cp>See—Shatner’s been Shatner for so long now that he and his Shatner-esque self are one. And as he talks to me, I start to realize how terrible this must be for him. Here he is on the phone spilling his heart about the death of his best friend and his life’s regrets and his quest to offer a pure version of himself, and just because his timbre is rising and falling and he’s making those dramatic pauses, the general public’s knee-jerk reaction is: \u003cem>Oh, that wacky Priceline negotiator, so overly dramatic, always trying to go where no man has gone before.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11276542\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11276542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/William-Shatner-big.jpg\" alt='William Shatner: \"I know nothing.\"' width=\"1100\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/William-Shatner-big.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/William-Shatner-big-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/William-Shatner-big-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/William-Shatner-big-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/William-Shatner-big-960x576.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">William Shatner: “I know nothing.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Hence, take with you,\u003c/strong> if you will, the idea that William Shatner is a man trapped in the world’s perception of him. And take with you, if you will, his closing words at face value, when I remind him that many fans have learned life lessons from Captain Kirk and \u003cem>Star Trek\u003c/em>, and ask what his own biggest life lesson has been.\u003c/p>\n\u003cp>He pauses.\u003c/p>\n\u003cp>“Gabe,” he says, in low, measured tones, “the lesson is this: I… know… \u003cem>nothing\u003c/em>. You know nothing. We all know nothing. But we’re all on this Earth together, and just as I am here talking to you today, all of us have a core being within us, guiding us in life. And we must follow it. It will never lead us astray.”\u003c/p>\n\u003cp>I thank him for his time, we exchange goodbyes, and I hang up the receiver. I feel dazed. I feel enlightened. More than anything, I have a feeling that William Shatner, rather than a caricature of himself, is actually as real as it gets.\u003c/p>\n\u003cp>And as his most famous character \u003ca href=\"http://www.chakoteya.net/StarTrek/23.htm\" target=\"_blank\" rel=\"noopener noreferrer\">once said\u003c/a>, sometimes a feeling is all we humans have to go on.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>William Shatner performs ‘Shatner’s World’ on Saturday, Jan. 30, at the Warfield Theater in San Francisco. \u003ca href=\"http://www.thewarfieldtheatre.com/events/detail/280113\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "show-me-yours-the-imaginists-swoop-down-from-santa-rosa-and-jermaine-fowler-stops-in-from-maryland",
"title": "Show Me Yours: The Imaginists Swoop Down From Santa Rosa and Jermaine Fowler Stops In from Maryland",
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"content": "\u003cp>\u003cem>Show Me Yours is a weekly column in which Senior Arts Editor Chloe Veltman shares her picks for the Bay Area’s best bets in the performing arts.\u003c/em>\u003c/p>\n\u003cp>The Bay Area isn’t a big place, geographically speaking. Yet Santa Rosa might as well be Santa Fe or Sao Paulo when it comes to seeing shows around here. In addition to the inevitable gridlock on the freeway and the ever-increasing bridge tolls, there’s the psychological barrier to contend with: many Bay Area theatergoers simply think the performing arts landscape ends at Mill Valley. Go any further, and you’ll fall off into a nightmarish theatrical oblivion. There be dragons? Most certainly — in the shape of endless productions of \u003cem>A Funny Thing Happened on the Way to the Forum\u003c/em> and \u003cem>Grease\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11257169\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257169\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-800x526.jpg\" alt=\"A scene from WarCircus by The Imaginists \" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-960x631.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917.jpg 1488w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from WarCircus by The Imaginists \u003ccite>(Photo: Jaycob Bellochio / Courtesy The Imaginists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But making the pilgrimage up the 101 to experience a show by The Imaginists might be one of the most worthwhile things a theater goer could do. The scrappy company produces an astonishingly smart and visceral body of work from its storefront venue in downtown Santa Rosa. Including original pieces like \u003cem>SitCalm!\u003c/em>, a surreal spoof on the American sitcom tradition, outlandish adaptations of well-known works like \u003cem>The Wizard of Oz\u003c/em> and creative productions of standard plays like \u003cem>Waiting for Lefty\u003c/em>, The Imaginists’ output is more akin to the sort of theater produced by experimental performance art ensembles in places like Berlin, London, Paris and Moscow than most American companies around today.\u003c/p>\n\u003cp>If Santa Rosa still feels like a very long way away, then you’re in luck: The Imaginists will be making a rare San Francisco appearance later this week at A.C.T.’s The Costume Shop. \u003cem>\u003ca href=\"http://theimaginists.org/\" target=\"_blank\" rel=\"noopener\">WarCircus\u003c/a>\u003c/em>, the company’s brilliant reinvention of Euripides’ drama \u003cem>The Trojan Women\u003c/em>, imagines the devastated women of Troy as performers in a threadbare traveling circus. Commerce and tragedy collide as Helen, Cassandra, Hecuba and comrades reenact their story night after night after night in a perverse understanding of the old adage, “the show must go on.”\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 28 – Saturday, Jan. 30: The Imaginists present \u003cem>\u003ca href=\"http://theimaginists.org/\" target=\"_blank\" rel=\"noopener\">WarCircus\u003c/a>\u003c/em> at A.C.T.’s The Costume Shop, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A few more shows of note for this week:\u003c/p>\n\u003cfigure id=\"attachment_11257171\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-800x467.jpg\" alt=\"A scene from Tigers be Still\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-1920x1120.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Tigers be Still \u003ccite>(Photo: Susan Mah Photography / Courtesy City Lights Theater Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 – Sunday, Feb. 21: \u003cem>\u003ca href=\"http://cltc.org/explore-our-2015-16-season/tigers-be-still/\" target=\"_blank\" rel=\"noopener\">Tigers Be Still\u003c/a>\u003c/em> at City Lights Theater Company, San Jose\u003c/strong>\u003cbr>\nKim Rosenstock’s prescient comedy about depression follows the fortunes of a down-in-the-mouth young woman who finishes college and then moves back in with her parents. With today’s job market being so tight, it’s a situation to which many a young graduate can relate. Rosenstock, who served as a writer and editor on the Fox TV series \u003cem>New Girl\u003c/em>, has a flair for finding levity in dark situations. The comedy’s original off-Broadway run in 2010 was a “Critic’s Pick” in \u003cem>The New York Times\u003c/em> and went on to impress Bay Area audiences when SF Playhouse produced the show in 2011. For the South Bay premiere, San Jose’s City Lights Theater Company has assembled a lively local cast under the direction of Virginia Drake.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 31: Theatre Rhinoceros presents \u003cem>\u003ca href=\"http://www.therhino.org/\" target=\"_blank\" rel=\"noopener\">A Song at Twilight\u003c/a>\u003c/em> at Z Below, San Francisco\u003c/strong>\u003cbr>\nNoel Coward is much better known for bombastic comedies like \u003cem>Hay Fever\u003c/em> and \u003cem>Private Lives\u003c/em> than he is for this bittersweet little drama, penned late in the flamboyant entertainer’s career. But Theatre Rhino’s sensitive-piquant production of \u003cem>A Song at Twilight\u003c/em> makes a convincing case for measuring the play alongside his most well-known works. Set in a Swiss hotel in the mid 1960s, the drama outs the closeted homosexual feelings of a revered, aristocratic author, Sir Hugo Latymer, in the autumn of his life. Theatre Rhino artistic director John Fisher brings gusto and sadness to his intimately-detailed portrayal of the central character, a stand-in for Coward himself, who never fully confronted his own sexuality during his life. Fisher’s fellow actors, especially Sylvia Kratins as Latymer’s canny old flame Carlotta Gray, imbue this well-cast production with humor and pathos.\u003c/p>\n\u003cfigure id=\"attachment_11257170\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-800x519.jpg\" alt=\"Delina Patrica Brooks in the D.I.R.T. Festival \" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-1920x1245.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-960x623.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delina Patrica Brooks in the D.I.R.T. Festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 23 – Sunday, Feb. 7: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. Festival \u003c/a>\u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nDance Brigade’s Dance Mission Theater launched its activist-centric \u003cem>D.I.R.T. Festival, or Dance In Revolt(ing) Times\u003c/em>, with a provocative question: What happens when artists revolt? The answer is provided in the shape of 18 choreographers presenting radically diverse work across three weekends about some of the most pressing local and global socio-political challenges of our time. Now in its second year, the event features pieces by local luminaries including Amara Tabor Smith, Yayoi Kambara and Laura Larry Arrington, as well as free talks and storytelling events around the theme of social responsibility. Oh, and check out \u003ca href=\"http://ww2.kqed.org/arts/2016/01/13/turf-dancing-and-ballet-struggle-to-meet-half-way/\" target=\"_blank\" rel=\"noopener\">April Dembosky’s terrific radio and web story\u003c/a> about a collaboration between turf and ballet dancers that’s part of the festival.\u003c/p>\n\u003cfigure id=\"attachment_11257172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257172\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-800x557.jpg\" alt=\"Sango Tajima as Kitty in Bad Kitty on Stage\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-960x669.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sango Tajima as Kitty in Bad Kitty on Stage \u003ccite>(Photo: Melissa Nigro / Courtesy Bay Area Childrens Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 23 – Saturday, Mar. 26: Bay Area Children’s Theatre presents \u003cem>\u003ca href=\"http://bayareachildrenstheatre.org/shows/BadKitty?gclid=CjwKEAiAt_K0BRCzjtv92_HGoR0SJAA9QNn_YO150sAyD4n0htyFfYCWENP9O-I_ar0dw-xun1JfGhoChqzw_wcB\" target=\"_blank\" rel=\"noopener\">Bad Kitty on Stage\u003c/a>\u003c/em> at various venues in Berkeley, San Ramon and San Francisco\u003c/strong>\u003cbr>\nIf you’re a cat person like me, you might find this new stage adaptation of \u003cem>The New York Times\u003c/em> best-selling children’s picture book series by Nick Bruel about a naughty cat who likes nothing better than to cause an uproar in its owner’s home, rather compelling. Bay Area Children’s Theatre says this hour-long family-friendly production is suitable for kids aged four and up. It’s directed by Benjamin Hanna and features a book and music by Min Kahng. Bay Area audiences can catch the mischievous moggy and its friends in a variety of locations between now and the end of March — first at the Freight & Salvage in Berkeley (through Feb. 21), then at the Dougherty Performing Arts Center (through Feb. 28) and finally at the Children’s Creativity Museum Theater in San Francisco (through Mar. 26.)\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Jan. 26: \u003ca href=\"http://www.jermainefowler.com/\" target=\"_blank\" rel=\"noopener\">Jermaine Fowler\u003c/a>’s \u003cem>Give Em Hell, Kid\u003c/em> Tour at The Independent, San Francisco\u003c/strong>\u003cbr>\nI came across Jermaine Fowler when someone send me a series of YouTube segments featuring the smart, young African-American comedian. In one mad monologue from \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=O4VGmzruPf&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">The Late Late Show with James Corden\u003c/a>\u003c/em>, Fowler cracked me up with his jokes about what it’s like to get mistaken for his no-good twin brother and how a defensive aunt in Maryland (who is spelling-challenged) takes his part against people who express negative comments about him on social media. Fowler, who has been criss-crossing the country performing standup with \u003cem>Comedy Central\u003c/em>, \u003cem>MTV\u003c/em> and \u003cem>Funny or Die\u003c/em>, brings his latest humor to San Francisco to celebrate the launch of his comedy special, \u003cem>Give Em Hell, Kid\u003c/em>.\u003c/p>\n\u003cp>And a couple more shows worth checking out:\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 27 – Saturday, Feb. 6: SAFEhouse for the Performing Arts presents \u003cem>\u003ca href=\"http://www.wtfsf.org/home.html\" target=\"_blank\" rel=\"noopener\">WTF Winter Theatre Festival\u003c/a>\u003c/em> at Great Star Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 14: \u003cem>\u003ca href=\"http://www.marintheatre.org/productions/august-wilsons-gem-of-the-ocean\" target=\"_blank\" rel=\"noopener\">Gem of the Ocean\u003c/a>\u003c/em> at Marin Theatre Company, Mill Valley\u003c/strong>\u003c/p>\n\n",
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"title": "Show Me Yours: The Imaginists Swoop Down From Santa Rosa and Jermaine Fowler Stops In from Maryland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Show Me Yours is a weekly column in which Senior Arts Editor Chloe Veltman shares her picks for the Bay Area’s best bets in the performing arts.\u003c/em>\u003c/p>\n\u003cp>The Bay Area isn’t a big place, geographically speaking. Yet Santa Rosa might as well be Santa Fe or Sao Paulo when it comes to seeing shows around here. In addition to the inevitable gridlock on the freeway and the ever-increasing bridge tolls, there’s the psychological barrier to contend with: many Bay Area theatergoers simply think the performing arts landscape ends at Mill Valley. Go any further, and you’ll fall off into a nightmarish theatrical oblivion. There be dragons? Most certainly — in the shape of endless productions of \u003cem>A Funny Thing Happened on the Way to the Forum\u003c/em> and \u003cem>Grease\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11257169\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257169\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-800x526.jpg\" alt=\"A scene from WarCircus by The Imaginists \" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917-960x631.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AIMSandWARCIRCUS693-Photo-by-Jaycob-Bellochio-e1453158253917.jpg 1488w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from WarCircus by The Imaginists \u003ccite>(Photo: Jaycob Bellochio / Courtesy The Imaginists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But making the pilgrimage up the 101 to experience a show by The Imaginists might be one of the most worthwhile things a theater goer could do. The scrappy company produces an astonishingly smart and visceral body of work from its storefront venue in downtown Santa Rosa. Including original pieces like \u003cem>SitCalm!\u003c/em>, a surreal spoof on the American sitcom tradition, outlandish adaptations of well-known works like \u003cem>The Wizard of Oz\u003c/em> and creative productions of standard plays like \u003cem>Waiting for Lefty\u003c/em>, The Imaginists’ output is more akin to the sort of theater produced by experimental performance art ensembles in places like Berlin, London, Paris and Moscow than most American companies around today.\u003c/p>\n\u003cp>If Santa Rosa still feels like a very long way away, then you’re in luck: The Imaginists will be making a rare San Francisco appearance later this week at A.C.T.’s The Costume Shop. \u003cem>\u003ca href=\"http://theimaginists.org/\" target=\"_blank\" rel=\"noopener\">WarCircus\u003c/a>\u003c/em>, the company’s brilliant reinvention of Euripides’ drama \u003cem>The Trojan Women\u003c/em>, imagines the devastated women of Troy as performers in a threadbare traveling circus. Commerce and tragedy collide as Helen, Cassandra, Hecuba and comrades reenact their story night after night after night in a perverse understanding of the old adage, “the show must go on.”\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 28 – Saturday, Jan. 30: The Imaginists present \u003cem>\u003ca href=\"http://theimaginists.org/\" target=\"_blank\" rel=\"noopener\">WarCircus\u003c/a>\u003c/em> at A.C.T.’s The Costume Shop, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few more shows of note for this week:\u003c/p>\n\u003cfigure id=\"attachment_11257171\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-800x467.jpg\" alt=\"A scene from Tigers be Still\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-1920x1120.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Photo-by-Susan-Mah-Photography.-e1453158504346-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Tigers be Still \u003ccite>(Photo: Susan Mah Photography / Courtesy City Lights Theater Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 – Sunday, Feb. 21: \u003cem>\u003ca href=\"http://cltc.org/explore-our-2015-16-season/tigers-be-still/\" target=\"_blank\" rel=\"noopener\">Tigers Be Still\u003c/a>\u003c/em> at City Lights Theater Company, San Jose\u003c/strong>\u003cbr>\nKim Rosenstock’s prescient comedy about depression follows the fortunes of a down-in-the-mouth young woman who finishes college and then moves back in with her parents. With today’s job market being so tight, it’s a situation to which many a young graduate can relate. Rosenstock, who served as a writer and editor on the Fox TV series \u003cem>New Girl\u003c/em>, has a flair for finding levity in dark situations. The comedy’s original off-Broadway run in 2010 was a “Critic’s Pick” in \u003cem>The New York Times\u003c/em> and went on to impress Bay Area audiences when SF Playhouse produced the show in 2011. For the South Bay premiere, San Jose’s City Lights Theater Company has assembled a lively local cast under the direction of Virginia Drake.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 31: Theatre Rhinoceros presents \u003cem>\u003ca href=\"http://www.therhino.org/\" target=\"_blank\" rel=\"noopener\">A Song at Twilight\u003c/a>\u003c/em> at Z Below, San Francisco\u003c/strong>\u003cbr>\nNoel Coward is much better known for bombastic comedies like \u003cem>Hay Fever\u003c/em> and \u003cem>Private Lives\u003c/em> than he is for this bittersweet little drama, penned late in the flamboyant entertainer’s career. But Theatre Rhino’s sensitive-piquant production of \u003cem>A Song at Twilight\u003c/em> makes a convincing case for measuring the play alongside his most well-known works. Set in a Swiss hotel in the mid 1960s, the drama outs the closeted homosexual feelings of a revered, aristocratic author, Sir Hugo Latymer, in the autumn of his life. Theatre Rhino artistic director John Fisher brings gusto and sadness to his intimately-detailed portrayal of the central character, a stand-in for Coward himself, who never fully confronted his own sexuality during his life. Fisher’s fellow actors, especially Sylvia Kratins as Latymer’s canny old flame Carlotta Gray, imbue this well-cast production with humor and pathos.\u003c/p>\n\u003cfigure id=\"attachment_11257170\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-800x519.jpg\" alt=\"Delina Patrica Brooks in the D.I.R.T. Festival \" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-1920x1245.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Delina-Patrica-Delina-Patrica-Brooks-Photo-by-Alan-Kimara-e1453158385302-960x623.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delina Patrica Brooks in the D.I.R.T. Festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 23 – Sunday, Feb. 7: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. Festival \u003c/a>\u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nDance Brigade’s Dance Mission Theater launched its activist-centric \u003cem>D.I.R.T. Festival, or Dance In Revolt(ing) Times\u003c/em>, with a provocative question: What happens when artists revolt? The answer is provided in the shape of 18 choreographers presenting radically diverse work across three weekends about some of the most pressing local and global socio-political challenges of our time. Now in its second year, the event features pieces by local luminaries including Amara Tabor Smith, Yayoi Kambara and Laura Larry Arrington, as well as free talks and storytelling events around the theme of social responsibility. Oh, and check out \u003ca href=\"http://ww2.kqed.org/arts/2016/01/13/turf-dancing-and-ballet-struggle-to-meet-half-way/\" target=\"_blank\" rel=\"noopener\">April Dembosky’s terrific radio and web story\u003c/a> about a collaboration between turf and ballet dancers that’s part of the festival.\u003c/p>\n\u003cfigure id=\"attachment_11257172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11257172\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-800x557.jpg\" alt=\"Sango Tajima as Kitty in Bad Kitty on Stage\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/badkittypaint_print-cropped-e1453158688681-960x669.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sango Tajima as Kitty in Bad Kitty on Stage \u003ccite>(Photo: Melissa Nigro / Courtesy Bay Area Childrens Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 23 – Saturday, Mar. 26: Bay Area Children’s Theatre presents \u003cem>\u003ca href=\"http://bayareachildrenstheatre.org/shows/BadKitty?gclid=CjwKEAiAt_K0BRCzjtv92_HGoR0SJAA9QNn_YO150sAyD4n0htyFfYCWENP9O-I_ar0dw-xun1JfGhoChqzw_wcB\" target=\"_blank\" rel=\"noopener\">Bad Kitty on Stage\u003c/a>\u003c/em> at various venues in Berkeley, San Ramon and San Francisco\u003c/strong>\u003cbr>\nIf you’re a cat person like me, you might find this new stage adaptation of \u003cem>The New York Times\u003c/em> best-selling children’s picture book series by Nick Bruel about a naughty cat who likes nothing better than to cause an uproar in its owner’s home, rather compelling. Bay Area Children’s Theatre says this hour-long family-friendly production is suitable for kids aged four and up. It’s directed by Benjamin Hanna and features a book and music by Min Kahng. Bay Area audiences can catch the mischievous moggy and its friends in a variety of locations between now and the end of March — first at the Freight & Salvage in Berkeley (through Feb. 21), then at the Dougherty Performing Arts Center (through Feb. 28) and finally at the Children’s Creativity Museum Theater in San Francisco (through Mar. 26.)\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Jan. 26: \u003ca href=\"http://www.jermainefowler.com/\" target=\"_blank\" rel=\"noopener\">Jermaine Fowler\u003c/a>’s \u003cem>Give Em Hell, Kid\u003c/em> Tour at The Independent, San Francisco\u003c/strong>\u003cbr>\nI came across Jermaine Fowler when someone send me a series of YouTube segments featuring the smart, young African-American comedian. In one mad monologue from \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=O4VGmzruPf&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">The Late Late Show with James Corden\u003c/a>\u003c/em>, Fowler cracked me up with his jokes about what it’s like to get mistaken for his no-good twin brother and how a defensive aunt in Maryland (who is spelling-challenged) takes his part against people who express negative comments about him on social media. Fowler, who has been criss-crossing the country performing standup with \u003cem>Comedy Central\u003c/em>, \u003cem>MTV\u003c/em> and \u003cem>Funny or Die\u003c/em>, brings his latest humor to San Francisco to celebrate the launch of his comedy special, \u003cem>Give Em Hell, Kid\u003c/em>.\u003c/p>\n\u003cp>And a couple more shows worth checking out:\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 27 – Saturday, Feb. 6: SAFEhouse for the Performing Arts presents \u003cem>\u003ca href=\"http://www.wtfsf.org/home.html\" target=\"_blank\" rel=\"noopener\">WTF Winter Theatre Festival\u003c/a>\u003c/em> at Great Star Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 14: \u003cem>\u003ca href=\"http://www.marintheatre.org/productions/august-wilsons-gem-of-the-ocean\" target=\"_blank\" rel=\"noopener\">Gem of the Ocean\u003c/a>\u003c/em> at Marin Theatre Company, Mill Valley\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The term “pop music” is a 20th century invention — it originated in England in the 1950s to describe the rock and roll frenzy that was sweeping the nation. One of the many inspired things about the first part of New York drag artist Taylor Mac’s lunatic-brilliant \u003cem>A 24-Decade History of Popular Music\u003c/em> is how it reminds us that pop music in this country is actually much older than that. Another, is a sense that the greatest hits of the 1770s and 1780s — the tunes that rocked the taverns and bawdy houses of our fledgling republic back in the days when England was pretty unpopular and a mohawk was a member of a native American tribe rather than a way to wear your hair — could easily go viral today.\u003c/p>\n\u003cp>Mac is training for a 24-hour marathon performance of his \u003cem>A 24-Decade History of Popular Music\u003c/em> in New York the weekend of Oct. 8 – 9, in which he will devote an hour of stage time to each decade from 1776 to the present day. For now, he’s getting into shape for this feat by undertaking just the first two parts — or six decades / six hours worth of songs — in San Francisco as part of the Curran Theatre’s \u003cem>Under Construction\u003c/em> series of experimental performance. I caught the first three decades (1776 – 1806) on opening night and can’t wait to go back for Part Two (1806 – 1836) in a few days.\u003c/p>\n\u003cp>The productions featured in \u003cem>Under Construction\u003c/em> seat the audience on stage close to the performer. In his show, Mac first appears on a balcony above the Curran’s orchestra section, looking down at us from afar. Wearing an elaborate hooped dress fashioned from brightly-colored foil ribbons and a voluminous wig that makes him look like Marie Antoinette had an accident in a Mexican bodega, the artist begins an epic journey through 240 years of U.S. musical history that’s as timeless as it is prescient.\u003c/p>\n\u003cp>That’s in part because of music director and pianist Matt Ray’s creative song arrangements, which make crusty old tunes like “Yankee Doodle” and “Amazing Grace” sound like like they were written just in time for this year’s Grammys. The performances carry it too: Although the show is currently in workshop mode, with Mac, Ray and the band still ironing out a few wonky transitions, the team manages to breathe new life into both well-known and obscure 18th century ditties. And it’s Mac’s mercurial tenor that anchors the experience: the drag queen’s voice is as colorful as his flamboyant sense of style. There’s crushed velvet and feathers in Mac’s mellifluous ballad singing and 8-inch spiked heels in his drinking song belt.\u003c/p>\n\u003cfigure id=\"attachment_11273116\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg\" alt=\"Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1920x1227.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction \u003ccite>(Photo: Jim Norrena / Courtesy Curran: Under Construction )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t just the music that makes three hours of sitting on an uncomfortable plastic chair on a rickety riser breeze by, or Mac’s eye-popping wardrobe. (In addition to the gaudy get-up mentioned above, there’s an “architectural” dress involving a pair of enormous doric columns, each with a plastic doll’s head dangling from the bottom, and another costume topped with an amazing wig made of wine bottle corks and sheaths of barley.) The thematic through-line connecting the musical numbers also helps to take \u003cem>A 24-Decade History of Popular Music\u003c/em> beyond regular drag cabaret.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mac underpins each decade of the musical journey with commentaries on broad social issues, which he spices with liberal amounts of scathing humor and personal anecdote. The first decade roughly and comically charts the founding principles of post-Revolutionary U.S.. In the second decade, Mac takes a piquant look at women’s lib. Part Three is all about booze, where the ripe innuendos of raucous drinking songs like “Nine Inch Will Please a Lady” clash against the stiff, bonneted warblings of a scandalized Temperance Choir (a small guest ensemble of classically-trained singers.) By the time we reach the end of the show, the do-gooder choristers get their comeuppance, pelted in a hailstorm of ping-pong balls. In addition to having fun with a piece of political history, the gambit neatly plays out a more contemporary stand-off between the scrappy, underground world of drag performance and the straight-laced mores of today’s arts establishment. Here, the political becomes personal, as Mac himself has been faced with negotiating these two worlds in his own career.\u003c/p>\n\u003cp>The socio-political content at times feels a little strained, like when Mac spins a long feminist diatribe out of a mopey little ditty about a young woman fretting about why her beau hasn’t come home from the fair. But Mac’s ability to work the crowd, in particular his obsessive, sweetly overbearing use of audience participation, mitigates this shortcoming. He makes this otherwise sprawling historical project feel intimate and personal.\u003c/p>\n\u003cp>Mac’s insistence on bringing the crowd into the proceedings might seem tiresome and gimmicky to some — one person complained to me about being pulled into a conga line and forced to wear a pair of fairy wings. But overdoing it, going over-the-top, “carrying on for just a bit too long,” as Mac himself puts it, is part of his stage technique. It’s there to make a broader point about just how topsy-turvy the world is. And like an old song that’s so familiar that it’s stuck in all of our heads, we’re all in this thing together, like it or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Taylor Mac’s A 24-Decade History of Popular Music\u003cstrong> \u003c/strong>runs through Saturday, Jan. 30 at the Curran Theatre in San Francisco. \u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. You can also hear Mac speak on \u003ca href=\"http://www.kqed.org/a/forum/R201601191030\" target=\"_blank\" rel=\"noopener\">KQED’s Forum about his show\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The term “pop music” is a 20th century invention — it originated in England in the 1950s to describe the rock and roll frenzy that was sweeping the nation. One of the many inspired things about the first part of New York drag artist Taylor Mac’s lunatic-brilliant \u003cem>A 24-Decade History of Popular Music\u003c/em> is how it reminds us that pop music in this country is actually much older than that. Another, is a sense that the greatest hits of the 1770s and 1780s — the tunes that rocked the taverns and bawdy houses of our fledgling republic back in the days when England was pretty unpopular and a mohawk was a member of a native American tribe rather than a way to wear your hair — could easily go viral today.\u003c/p>\n\u003cp>Mac is training for a 24-hour marathon performance of his \u003cem>A 24-Decade History of Popular Music\u003c/em> in New York the weekend of Oct. 8 – 9, in which he will devote an hour of stage time to each decade from 1776 to the present day. For now, he’s getting into shape for this feat by undertaking just the first two parts — or six decades / six hours worth of songs — in San Francisco as part of the Curran Theatre’s \u003cem>Under Construction\u003c/em> series of experimental performance. I caught the first three decades (1776 – 1806) on opening night and can’t wait to go back for Part Two (1806 – 1836) in a few days.\u003c/p>\n\u003cp>The productions featured in \u003cem>Under Construction\u003c/em> seat the audience on stage close to the performer. In his show, Mac first appears on a balcony above the Curran’s orchestra section, looking down at us from afar. Wearing an elaborate hooped dress fashioned from brightly-colored foil ribbons and a voluminous wig that makes him look like Marie Antoinette had an accident in a Mexican bodega, the artist begins an epic journey through 240 years of U.S. musical history that’s as timeless as it is prescient.\u003c/p>\n\u003cp>That’s in part because of music director and pianist Matt Ray’s creative song arrangements, which make crusty old tunes like “Yankee Doodle” and “Amazing Grace” sound like like they were written just in time for this year’s Grammys. The performances carry it too: Although the show is currently in workshop mode, with Mac, Ray and the band still ironing out a few wonky transitions, the team manages to breathe new life into both well-known and obscure 18th century ditties. And it’s Mac’s mercurial tenor that anchors the experience: the drag queen’s voice is as colorful as his flamboyant sense of style. There’s crushed velvet and feathers in Mac’s mellifluous ballad singing and 8-inch spiked heels in his drinking song belt.\u003c/p>\n\u003cfigure id=\"attachment_11273116\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg\" alt=\"Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1920x1227.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction \u003ccite>(Photo: Jim Norrena / Courtesy Curran: Under Construction )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t just the music that makes three hours of sitting on an uncomfortable plastic chair on a rickety riser breeze by, or Mac’s eye-popping wardrobe. (In addition to the gaudy get-up mentioned above, there’s an “architectural” dress involving a pair of enormous doric columns, each with a plastic doll’s head dangling from the bottom, and another costume topped with an amazing wig made of wine bottle corks and sheaths of barley.) The thematic through-line connecting the musical numbers also helps to take \u003cem>A 24-Decade History of Popular Music\u003c/em> beyond regular drag cabaret.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mac underpins each decade of the musical journey with commentaries on broad social issues, which he spices with liberal amounts of scathing humor and personal anecdote. The first decade roughly and comically charts the founding principles of post-Revolutionary U.S.. In the second decade, Mac takes a piquant look at women’s lib. Part Three is all about booze, where the ripe innuendos of raucous drinking songs like “Nine Inch Will Please a Lady” clash against the stiff, bonneted warblings of a scandalized Temperance Choir (a small guest ensemble of classically-trained singers.) By the time we reach the end of the show, the do-gooder choristers get their comeuppance, pelted in a hailstorm of ping-pong balls. In addition to having fun with a piece of political history, the gambit neatly plays out a more contemporary stand-off between the scrappy, underground world of drag performance and the straight-laced mores of today’s arts establishment. Here, the political becomes personal, as Mac himself has been faced with negotiating these two worlds in his own career.\u003c/p>\n\u003cp>The socio-political content at times feels a little strained, like when Mac spins a long feminist diatribe out of a mopey little ditty about a young woman fretting about why her beau hasn’t come home from the fair. But Mac’s ability to work the crowd, in particular his obsessive, sweetly overbearing use of audience participation, mitigates this shortcoming. He makes this otherwise sprawling historical project feel intimate and personal.\u003c/p>\n\u003cp>Mac’s insistence on bringing the crowd into the proceedings might seem tiresome and gimmicky to some — one person complained to me about being pulled into a conga line and forced to wear a pair of fairy wings. But overdoing it, going over-the-top, “carrying on for just a bit too long,” as Mac himself puts it, is part of his stage technique. It’s there to make a broader point about just how topsy-turvy the world is. And like an old song that’s so familiar that it’s stuck in all of our heads, we’re all in this thing together, like it or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Taylor Mac’s A 24-Decade History of Popular Music\u003cstrong> \u003c/strong>runs through Saturday, Jan. 30 at the Curran Theatre in San Francisco. \u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. You can also hear Mac speak on \u003ca href=\"http://www.kqed.org/a/forum/R201601191030\" target=\"_blank\" rel=\"noopener\">KQED’s Forum about his show\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/00114022.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=Cq2EwnBr_oM\u003c/p>\n\u003cp>\u003cstrong>Jan. 28 – Jan. 31:\u003c/strong> Cameron Carpenter may be as much a showman and as bedecked with rhinestones as Liberace, but he gets more respect for his explorations of the grand classical works of Back and Scriabin, as well as the pop songbook of Lightfoot and Bacharach. (The video above is his take on “Georgia on My Mind.”). His four-day residency at SFJAZZ will be give organ lovers a chance to hear the Northern California premiere of the \u003ca href=\"https://www.sfjazz.org/onthecorner/five-things-you-should-know-about-international-touring-organ\" target=\"_blank\" rel=\"noopener\">“International Touring Organ,”\u003c/a> a totally 21st century digital instrument. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0128/cameron-carpenter\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265518\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg\" alt=\"David Cross\" width=\"770\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-768x400.jpg 768w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">David Cross\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 28 & 31:\u003c/strong> Standup comedian David Cross strikes just the right balance between political satire and ridiculous dating routines. He grew up poor in the Southeast, so it’s very personal, and funny, when he takes on Southern Bible-thumpers, And yes, you do know his work. He was on \u003cem>Arrested Development\u003c/em> and partnered with Bob Oldenkirk on \u003cem>Mr. Show\u003c/em>, and he’s done voices for \u003cem>Kung Fu Panda\u003c/em> and \u003cem>Alvin and the Chipmunks\u003c/em>. He’s doing two shows, one at San Francisco’s Davies Hall Jan. 28, and then Jan. 31 at the Wells Fargo Center in Santa Rosa.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A1lbfA8Xyz8\u003c/p>\n\u003cp>\u003cstrong>Jan. 22 – 23 & Feb. 6 & Feb. 12\u003c/strong>: Fremont composer\u003cstrong> \u003c/strong>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Võ Vân Ánh\u003c/a> is a musical genius. She grew up in Hanoi mastering her country’s folk tradition, winning awards for her mastery of traditional instruments, especially the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">đàn tranh\u003c/a> (Vietnamese zither), đàn bầu, and bamboo xylophone. This weekend, she stages the world premiere of her multimedia suite \u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey: from Vietnam to America\u003c/em>, \u003c/a>about the Vietnamese boat people, a project she has worked on for 10 years. Then she plays the \u003ca href=\"http://kronosquartet.org/kronos-presents/detail/2397\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s Explorer Series Feb. 6\u003c/a>, and then The \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony premieres her \u003cem>Lullaby for a Country\u003c/em>, a concerto for đàn tranh Feb. 12th\u003c/a>. Vo’s music is strange and very, very beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11265625\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg\" alt=\"Calling All Choirs\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs.jpg 1225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Calling All Choir \u003ccite>(Photo Credit: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 & 30:\u003c/strong> One member describes the Calling All Choir as a non-audition gather-ye-oddballs group, that sounds pretty darn good. I can attest to that. A lot of credit goes to the ambitious leadership of composer Mark Growden, who founded the groups both a musical and service organization. The choir often plays retirement homes and residential treatment centers. These concerts (in Berkeley at the Crowden School and in SF at Mission Dolores Basilica) will features songs from around the globe including “Noah’s Dove,” arranged by Growden. Details for both concerts \u003ca href=\"http://callingallchoir.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s a \u003cstrong>CHEAP THRILL! \u003c/strong>Just $15.\u003c/p>\n\u003cfigure id=\"attachment_11265648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265648 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg\" alt=\"\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Klein performs in Dance Mission’s Theater’s Dance In Revolting Times festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 – Feb. 7:\u003c/strong> Immigration, Black Lives Matter, health care policy, how war affects women in Iraq: issues for the Presidential debates, and for \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a>’s second annual D.I.R.T Festival, Dance In Revolting Times, over the next three weekends. This first weekend is a collaboration with the \u003ca href=\"http://Black%20Choreographers%20Festival.\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival.\u003c/a> \u003ca href=\"http://dancemission.com/performances/upcoming.html#dirt\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ihItq4ZQ8LM\u003c/p>\n\u003cp>\u003cstrong>Jan. 27\u003c/strong>: Talib Kweli is so political and so smart, he even shows up on President Obama’s playlist, and he recently did an American hip-hop songbook concert at Lincoln Center. His name is a Swahili-Arabic mashup that means “true seeker.” Now Kweli is teaming up again with DJ Hi Tek, his Reflection Eternal partner of 20 years. Expect less bling and more politics. Reflection Eternal play two\u003ca href=\"http://www.yoshis.com/search/?q=TALIB%20KWELI%20&%20HI%20TEK%20-%20REFLECTION%20ETERNAL\" target=\"_blank\" rel=\"noopener\"> shows at Yoshi’s in Oakland. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265760\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg\" alt=\"Ubuntu Theater Project's production of 'The Gospel of Lovingkindness'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project’s production of ‘The Gospel of Lovingkindness’ \u003ccite>(Photo Credit: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 31: \u003c/strong>\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project \u003c/a>is a valiant effort for Oakland, a new repertory company doing serious theater. To open their first full season, they’re presenting a heartfelt production of Oakland born playwright Marcus Gardley’s \u003cem>The Gospel of Lovingkindness, \u003c/em>about the senseless killings of young black men, and what happens when one woman fights back. It’s in a perfectly intimate setting:\u003ca href=\"http://www.oaklandcitychurch.org/\" target=\"_blank\" rel=\"noopener\"> Oakland City Church, \u003c/a>on the border between the Dimond and the Laurel Districts. \u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/00114022.mp3\u003cbr>\n\u003c/p>\u003c/aside>\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/Cq2EwnBr_oM'\n title='//www.youtube.com/embed/Cq2EwnBr_oM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 28 – Jan. 31:\u003c/strong> Cameron Carpenter may be as much a showman and as bedecked with rhinestones as Liberace, but he gets more respect for his explorations of the grand classical works of Back and Scriabin, as well as the pop songbook of Lightfoot and Bacharach. (The video above is his take on “Georgia on My Mind.”). His four-day residency at SFJAZZ will be give organ lovers a chance to hear the Northern California premiere of the \u003ca href=\"https://www.sfjazz.org/onthecorner/five-things-you-should-know-about-international-touring-organ\" target=\"_blank\" rel=\"noopener\">“International Touring Organ,”\u003c/a> a totally 21st century digital instrument. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0128/cameron-carpenter\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265518\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg\" alt=\"David Cross\" width=\"770\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-768x400.jpg 768w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">David Cross\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 28 & 31:\u003c/strong> Standup comedian David Cross strikes just the right balance between political satire and ridiculous dating routines. He grew up poor in the Southeast, so it’s very personal, and funny, when he takes on Southern Bible-thumpers, And yes, you do know his work. He was on \u003cem>Arrested Development\u003c/em> and partnered with Bob Oldenkirk on \u003cem>Mr. Show\u003c/em>, and he’s done voices for \u003cem>Kung Fu Panda\u003c/em> and \u003cem>Alvin and the Chipmunks\u003c/em>. He’s doing two shows, one at San Francisco’s Davies Hall Jan. 28, and then Jan. 31 at the Wells Fargo Center in Santa Rosa.\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/A1lbfA8Xyz8'\n title='//www.youtube.com/embed/A1lbfA8Xyz8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 22 – 23 & Feb. 6 & Feb. 12\u003c/strong>: Fremont composer\u003cstrong> \u003c/strong>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Võ Vân Ánh\u003c/a> is a musical genius. She grew up in Hanoi mastering her country’s folk tradition, winning awards for her mastery of traditional instruments, especially the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">đàn tranh\u003c/a> (Vietnamese zither), đàn bầu, and bamboo xylophone. This weekend, she stages the world premiere of her multimedia suite \u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey: from Vietnam to America\u003c/em>, \u003c/a>about the Vietnamese boat people, a project she has worked on for 10 years. Then she plays the \u003ca href=\"http://kronosquartet.org/kronos-presents/detail/2397\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s Explorer Series Feb. 6\u003c/a>, and then The \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony premieres her \u003cem>Lullaby for a Country\u003c/em>, a concerto for đàn tranh Feb. 12th\u003c/a>. Vo’s music is strange and very, very beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11265625\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg\" alt=\"Calling All Choirs\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs.jpg 1225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Calling All Choir \u003ccite>(Photo Credit: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 & 30:\u003c/strong> One member describes the Calling All Choir as a non-audition gather-ye-oddballs group, that sounds pretty darn good. I can attest to that. A lot of credit goes to the ambitious leadership of composer Mark Growden, who founded the groups both a musical and service organization. The choir often plays retirement homes and residential treatment centers. These concerts (in Berkeley at the Crowden School and in SF at Mission Dolores Basilica) will features songs from around the globe including “Noah’s Dove,” arranged by Growden. Details for both concerts \u003ca href=\"http://callingallchoir.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s a \u003cstrong>CHEAP THRILL! \u003c/strong>Just $15.\u003c/p>\n\u003cfigure id=\"attachment_11265648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265648 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg\" alt=\"\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Klein performs in Dance Mission’s Theater’s Dance In Revolting Times festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 – Feb. 7:\u003c/strong> Immigration, Black Lives Matter, health care policy, how war affects women in Iraq: issues for the Presidential debates, and for \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a>’s second annual D.I.R.T Festival, Dance In Revolting Times, over the next three weekends. This first weekend is a collaboration with the \u003ca href=\"http://Black%20Choreographers%20Festival.\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival.\u003c/a> \u003ca href=\"http://dancemission.com/performances/upcoming.html#dirt\" target=\"_blank\" rel=\"noopener\">Details 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/ihItq4ZQ8LM'\n title='//www.youtube.com/embed/ihItq4ZQ8LM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 27\u003c/strong>: Talib Kweli is so political and so smart, he even shows up on President Obama’s playlist, and he recently did an American hip-hop songbook concert at Lincoln Center. His name is a Swahili-Arabic mashup that means “true seeker.” Now Kweli is teaming up again with DJ Hi Tek, his Reflection Eternal partner of 20 years. Expect less bling and more politics. Reflection Eternal play two\u003ca href=\"http://www.yoshis.com/search/?q=TALIB%20KWELI%20&%20HI%20TEK%20-%20REFLECTION%20ETERNAL\" target=\"_blank\" rel=\"noopener\"> shows at Yoshi’s in Oakland. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265760\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg\" alt=\"Ubuntu Theater Project's production of 'The Gospel of Lovingkindness'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project’s production of ‘The Gospel of Lovingkindness’ \u003ccite>(Photo Credit: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 31: \u003c/strong>\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project \u003c/a>is a valiant effort for Oakland, a new repertory company doing serious theater. To open their first full season, they’re presenting a heartfelt production of Oakland born playwright Marcus Gardley’s \u003cem>The Gospel of Lovingkindness, \u003c/em>about the senseless killings of young black men, and what happens when one woman fights back. It’s in a perfectly intimate setting:\u003ca href=\"http://www.oaklandcitychurch.org/\" target=\"_blank\" rel=\"noopener\"> Oakland City Church, \u003c/a>on the border between the Dimond and the Laurel Districts. \u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "show-me-yours-taylor-macs-epic-american-songbook-journey-act-new-strands-fest-and-more",
"title": "Show Me Yours: Taylor Mac's Epic American Songbook Journey, ACT New Strands Fest and more",
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"headTitle": "Show Me Yours: Taylor Mac’s Epic American Songbook Journey, ACT New Strands Fest and more | KQED",
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"content": "\u003cp>January can be a little slow on the performing arts front around here, with artists typically sleeping off the hectic holiday performance season and returning groggily to the stage. That’s patently not the case this year though. The drag queens have already straightened out their wigs, the thespians have learned their lines in record time and the dancers are warmed up and raring to go.\u003c/p>\n\u003cp>This is, of course, a good thing, though it’s hard to keep up with all the tantalizing shows happening on our stages right now. But we’ll do our best. Here are some suggestions to get you in training for what’s likely to be a busy year ahead.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 31: Palo Alto Players presents \u003ca href=\"http://www.paplayers.org/on-stage-now\" target=\"_blank\" rel=\"noopener\">\u003cem>Death of a Salesman\u003c/em> \u003c/a>at Lucie Stern Theater, Palo Alto\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">At a time in history where it’s not so much what you do that counts but how you market what you do, the figure of the salesman is king. It’s why the swaggering protagonists in hit TV shows like\u003cem> Mad Men\u003c/em> and movies like \u003cem>The Wolf of Wall Street\u003c/em> resonate so strongly with audiences. Salesman weren’t always this sexy though, as Arthur Miller’s celebrated 1949 drama, \u003cem>Death of a Salesman\u003c/em>, reminds us. The play centers on the misfortunes of pop culture’s original salesman, Willy Loman, as the drooping has-been attempts to make sense of his once-promising but now tattered life. Palo Alto Players’ community-minded production, directed by Kristen Lo, features staff and ex-students from Gunn High School, a public high school in Palo Alto.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11243667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-800x502.jpg\" alt=\"Miwa Matreyek performs a scene from 'Myth and Infrastructure' at ACT's New Strands Festival\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-1920x1204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-960x602.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miwa Matreyek performs a scene from ‘Myth and Infrastructure’ at ACT’s New Strands Festival \u003ccite>(Photo: Gayle Laird)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Sunday, Jan. 24: \u003ca href=\"http://www.act-sf.org/home/about/new_commissions/new_strands.html\" target=\"_blank\" rel=\"noopener\">New Strands Festival\u003c/a> at American Conservatory Theater’s Strand Theater, San Francisco\u003c/strong>\u003cbr>\nIf the American Conservatory Theater has been accused in the past of failing to focus enough energy on new theater and Bay Area talent, this four-day festival from the Bay Area flagship theater refutes the naysayers. Highlights of this free, “open house”-style event include \u003cem>Myth and Infrastructure\u003c/em>, a show about the history of the world told through projected animations and shadow silhouettes of performer Miwa Matreyek, an open rehearsal of a new work-in-progress, \u003cem>Fatherville\u003c/em>, involving master puppeteer Basil Twist, Zaccho Dance Theatre’s latest performance installation inspired by the history of the Strand Theater and an array of musical performances, participatory workshops and talks.\u003c/p>\n\u003cfigure id=\"attachment_11243669\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-800x525.jpg\" alt=\"Ric Salinas of Culture Clash performs the title role in PLACAS: The Most Dangerous Tattoo by Paul Flores.\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-1920x1259.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ric Salinas of Culture Clash performs the title role in PLACAS: The Most Dangerous Tattoo by Paul Flores. \u003ccite>(Photo: Courtesy of San Francisco International Arts Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.placas.org/\" target=\"_blank\" rel=\"noopener\">Placas: The Most Dangerous Tattoo\u003c/a>\u003c/em> at East Bay Center for Performing Arts, Richmond\u003c/strong>\u003cbr>\nTo prep for his lyrical, bilingual drama aimed at humanizing people from immigrant communities in California who fall prey to gang violence, playwright and spoken word artist Paul Flores spoke with more than a hundred gang members, their families and social workers in the U.S. and El Salvador. The play stars Ric Salinas, co-founder of the lauded theater ensemble Culture Clash, as a Salvadoran deportee living in the shadow of his violent past. Salinas’ character is based on the real-life story of Alex Sanchez, a former gang member who went on to launch the gang violence intervention non-profit, Homies Unidos, in Los Angeles . The play lands in Richmond before embarking on a tour that will take it to Stockton, Santa Ana and L.A.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Saturday, Jan. 30: Taylor Mac’s \u003cem>\u003ca href=\"http://www.taylormac.org/portfolio_page/24-decade/\" target=\"_blank\" rel=\"noopener\">A 24-Decade History of Popular Music\u003c/a>\u003c/em> at Curran Theatre, San Francisco\u003c/strong>\u003cbr>\nWhen it comes to sheer endurance and chutzpah, Taylor Mac has to be the David Blaine of the theater world. The brilliant, louche cabaret artist from Stockton is in the process of creating no less than a 24-hour musical extravaganza which takes audience members on a decade-by-decade journey through the dense history of the American songbook from tunes composed during the American Revolution to the pop songs of the present day. In San Francisco, Mac presents the first two parts of his musical mega-saga covering the period from 1776 to 1836. Expect plenty of glitter, heels and audience participation. The artist plans to give a one-off performance of his magnum opus in its 24-hour-long entirety later this year in New York, where he will be accompanied by a 24-piece band, a chorus line, and special guests. In preparation for this feat of theatrical derring-do, Mac’s website advises audiences to “bring bedding and toiletries.”\u003c/p>\n\u003cfigure id=\"attachment_11243294\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243294\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/09-Compagnie-Herv%C3%A9-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-800x430.jpg\" alt=\"Compagnie Hervé Koubi in 'What the Day Owes to the Night'\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-400x215.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-1180x634.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-960x516.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Compagnie Hervé Koubi in ‘What the Day Owes to the Night’ \u003ccite>(Photo: Nelson Romero Valarezo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Sunday, Jan 24: Compagnie Hervé Koubi presents \u003ca href=\"https://www.odcdance.org/performance.php?param=302\" target=\"_blank\" rel=\"noopener\">\u003cem>What the Day Owes to the Night\u003c/em> \u003c/a>at ODC, San Francisco\u003c/strong>\u003cbr>\nHervé Koubi was born in France and belatedly discovered his Algerian roots. With this west coast debut, the acclaimed choreographer explores his African origins with a dance work based on urban forms like capoeira and hip-hop and performed by a cast of 12 male dancers from Algeria and Burkino Faso. The highly personal, hour-long piece takes inspiration from Islamic architecture and Orientalist paintings to tell a physically gripping story of tangled roots and cultures.\u003c/p>\n\u003cp>Other cool stuff to check out in the coming days:\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 20 through Sunday, Jan. 31: Theatre Rhinoceros presents \u003cem>\u003ca href=\"http://www.therhino.org/#song\" target=\"_blank\" rel=\"noopener\">A Song at Twilight\u003c/a>\u003c/em> at Z Below, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Saturday, Jan. 23: \u003ca href=\"http://edwardianball.com/wordpress/\" target=\"_blank\" rel=\"noopener\">The Edwardian Ball \u003c/a>at The Regency Ballroom, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Saturday, Jan. 23: \u003ca href=\"https://tickets.ybca.org/single/PSDetail.aspx?psn=20471\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey – From Vietnam to America\u003c/em>\u003c/a> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Sunday, Jan. 31: Cal Performances presents \u003ca href=\"http://calperformances.org/learn/berkeley-radical/\" target=\"_blank\" rel=\"noopener\">\u003cem>Berkeley RADICAL: The Natural World\u003c/em> \u003c/a>at Zellerbach Hall, Berkeley\u003c/strong>\u003c/p>\n\n",
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"title": "Show Me Yours: Taylor Mac's Epic American Songbook Journey, ACT New Strands Fest and more | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>January can be a little slow on the performing arts front around here, with artists typically sleeping off the hectic holiday performance season and returning groggily to the stage. That’s patently not the case this year though. The drag queens have already straightened out their wigs, the thespians have learned their lines in record time and the dancers are warmed up and raring to go.\u003c/p>\n\u003cp>This is, of course, a good thing, though it’s hard to keep up with all the tantalizing shows happening on our stages right now. But we’ll do our best. Here are some suggestions to get you in training for what’s likely to be a busy year ahead.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 31: Palo Alto Players presents \u003ca href=\"http://www.paplayers.org/on-stage-now\" target=\"_blank\" rel=\"noopener\">\u003cem>Death of a Salesman\u003c/em> \u003c/a>at Lucie Stern Theater, Palo Alto\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">At a time in history where it’s not so much what you do that counts but how you market what you do, the figure of the salesman is king. It’s why the swaggering protagonists in hit TV shows like\u003cem> Mad Men\u003c/em> and movies like \u003cem>The Wolf of Wall Street\u003c/em> resonate so strongly with audiences. Salesman weren’t always this sexy though, as Arthur Miller’s celebrated 1949 drama, \u003cem>Death of a Salesman\u003c/em>, reminds us. The play centers on the misfortunes of pop culture’s original salesman, Willy Loman, as the drooping has-been attempts to make sense of his once-promising but now tattered life. Palo Alto Players’ community-minded production, directed by Kristen Lo, features staff and ex-students from Gunn High School, a public high school in Palo Alto.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11243667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-800x502.jpg\" alt=\"Miwa Matreyek performs a scene from 'Myth and Infrastructure' at ACT's New Strands Festival\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-1920x1204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/matreyek_MI_photocredit_Gayle_Laird_2-e1452718693899-960x602.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miwa Matreyek performs a scene from ‘Myth and Infrastructure’ at ACT’s New Strands Festival \u003ccite>(Photo: Gayle Laird)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Sunday, Jan. 24: \u003ca href=\"http://www.act-sf.org/home/about/new_commissions/new_strands.html\" target=\"_blank\" rel=\"noopener\">New Strands Festival\u003c/a> at American Conservatory Theater’s Strand Theater, San Francisco\u003c/strong>\u003cbr>\nIf the American Conservatory Theater has been accused in the past of failing to focus enough energy on new theater and Bay Area talent, this four-day festival from the Bay Area flagship theater refutes the naysayers. Highlights of this free, “open house”-style event include \u003cem>Myth and Infrastructure\u003c/em>, a show about the history of the world told through projected animations and shadow silhouettes of performer Miwa Matreyek, an open rehearsal of a new work-in-progress, \u003cem>Fatherville\u003c/em>, involving master puppeteer Basil Twist, Zaccho Dance Theatre’s latest performance installation inspired by the history of the Strand Theater and an array of musical performances, participatory workshops and talks.\u003c/p>\n\u003cfigure id=\"attachment_11243669\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-800x525.jpg\" alt=\"Ric Salinas of Culture Clash performs the title role in PLACAS: The Most Dangerous Tattoo by Paul Flores.\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-1920x1259.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/PLACAS-Ric-2-e1452719270145-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ric Salinas of Culture Clash performs the title role in PLACAS: The Most Dangerous Tattoo by Paul Flores. \u003ccite>(Photo: Courtesy of San Francisco International Arts Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.placas.org/\" target=\"_blank\" rel=\"noopener\">Placas: The Most Dangerous Tattoo\u003c/a>\u003c/em> at East Bay Center for Performing Arts, Richmond\u003c/strong>\u003cbr>\nTo prep for his lyrical, bilingual drama aimed at humanizing people from immigrant communities in California who fall prey to gang violence, playwright and spoken word artist Paul Flores spoke with more than a hundred gang members, their families and social workers in the U.S. and El Salvador. The play stars Ric Salinas, co-founder of the lauded theater ensemble Culture Clash, as a Salvadoran deportee living in the shadow of his violent past. Salinas’ character is based on the real-life story of Alex Sanchez, a former gang member who went on to launch the gang violence intervention non-profit, Homies Unidos, in Los Angeles . The play lands in Richmond before embarking on a tour that will take it to Stockton, Santa Ana and L.A.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 21 through Saturday, Jan. 30: Taylor Mac’s \u003cem>\u003ca href=\"http://www.taylormac.org/portfolio_page/24-decade/\" target=\"_blank\" rel=\"noopener\">A 24-Decade History of Popular Music\u003c/a>\u003c/em> at Curran Theatre, San Francisco\u003c/strong>\u003cbr>\nWhen it comes to sheer endurance and chutzpah, Taylor Mac has to be the David Blaine of the theater world. The brilliant, louche cabaret artist from Stockton is in the process of creating no less than a 24-hour musical extravaganza which takes audience members on a decade-by-decade journey through the dense history of the American songbook from tunes composed during the American Revolution to the pop songs of the present day. In San Francisco, Mac presents the first two parts of his musical mega-saga covering the period from 1776 to 1836. Expect plenty of glitter, heels and audience participation. The artist plans to give a one-off performance of his magnum opus in its 24-hour-long entirety later this year in New York, where he will be accompanied by a 24-piece band, a chorus line, and special guests. In preparation for this feat of theatrical derring-do, Mac’s website advises audiences to “bring bedding and toiletries.”\u003c/p>\n\u003cfigure id=\"attachment_11243294\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11243294\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/09-Compagnie-Herv%C3%A9-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-800x430.jpg\" alt=\"Compagnie Hervé Koubi in 'What the Day Owes to the Night'\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-400x215.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-1180x634.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/09-Compagnie-Hervé-Koubi.-What-the-Day-Owes-to-the-Night.-Photo-by-Nelson-Romero-Valarezo-e1452706181319-960x516.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Compagnie Hervé Koubi in ‘What the Day Owes to the Night’ \u003ccite>(Photo: Nelson Romero Valarezo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Sunday, Jan 24: Compagnie Hervé Koubi presents \u003ca href=\"https://www.odcdance.org/performance.php?param=302\" target=\"_blank\" rel=\"noopener\">\u003cem>What the Day Owes to the Night\u003c/em> \u003c/a>at ODC, San Francisco\u003c/strong>\u003cbr>\nHervé Koubi was born in France and belatedly discovered his Algerian roots. With this west coast debut, the acclaimed choreographer explores his African origins with a dance work based on urban forms like capoeira and hip-hop and performed by a cast of 12 male dancers from Algeria and Burkino Faso. The highly personal, hour-long piece takes inspiration from Islamic architecture and Orientalist paintings to tell a physically gripping story of tangled roots and cultures.\u003c/p>\n\u003cp>Other cool stuff to check out in the coming days:\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 20 through Sunday, Jan. 31: Theatre Rhinoceros presents \u003cem>\u003ca href=\"http://www.therhino.org/#song\" target=\"_blank\" rel=\"noopener\">A Song at Twilight\u003c/a>\u003c/em> at Z Below, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Saturday, Jan. 23: \u003ca href=\"http://edwardianball.com/wordpress/\" target=\"_blank\" rel=\"noopener\">The Edwardian Ball \u003c/a>at The Regency Ballroom, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Saturday, Jan. 23: \u003ca href=\"https://tickets.ybca.org/single/PSDetail.aspx?psn=20471\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey – From Vietnam to America\u003c/em>\u003c/a> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 22 through Sunday, Jan. 31: Cal Performances presents \u003ca href=\"http://calperformances.org/learn/berkeley-radical/\" target=\"_blank\" rel=\"noopener\">\u003cem>Berkeley RADICAL: The Natural World\u003c/em> \u003c/a>at Zellerbach Hall, Berkeley\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "theater-junkie-youth-speaks-makes-some-noise-for-martin-luther-king-jr",
"title": "Youth Speaks Makes Some Noise for Martin Luther King Jr.",
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"headTitle": "Youth Speaks Makes Some Noise for Martin Luther King Jr. | KQED",
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"content": "\u003cp>Storytelling is an essential aspect of human consciousness. Without it we’d find ourselves trapped in the infinite daze of animal survival. With each new story, we evolve, often imperfectly, but sometimes with great hope.\u003c/p>\n\u003cp>This feeling of evolution is at the heart of \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr.\u003c/a>, \u003c/em>a long-running annual event created in honor of King’s birthday by the Bay Area-based, national youth slam poetry organization Youth Speaks. This year’s program takes place on Monday, Jan. 18 at the Norse Auditorium in San Francisco. And though there will be the outward trappings of a party—music, dancing, and a real desire to applaud King’s work and legacy—the young people of Youth Speaks are interested in something more than homage. They are after nothing less than an accounting of the tense, fractured society around them and us. It’s the type of direct political heat you rarely feel on our professional stages, or in the dry lines of contemporary poetry.\u003c/p>\n\u003cp>If you go to \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr. \u003c/a>—\u003c/em> and you should — you won’t be lectured at. The spoken word format has synthesized a strange but potent amalgamation of theater, poetry, and essay. It’s a demanding art form. When a master of it takes the stage, such as the New York rapper and poet Saul Williams, there’s a demonic energy, both in what the artist says and in his performance of it. You feel the same spirit in the Youth Speaks kids.\u003c/p>\n\u003cp>They aren’t being taught to be good and obedient performers, but rather to take on the complex role of the storyteller, which requires skill, commitment, and daring. This is citizenship as art, and we need citizens capable of unleashing social and political ideals that many of us would rather just keep quiet. So the evening is aptly named because these young people are taking the noise that surrounds us everyday, catching it, and shaping it into stories.\u003c/p>\n\u003cp>While attending a dress rehearsal for Monday’s event, I was continually taken aback by the philosophical and emotional depth of the program. The focus of the evening comes from a 1957 \u003cem>Ebony\u003c/em> magazine interview with King in which he makes a political connection between love and power: “I am convinced that love is the most durable power in the world. It is not an expression of impractical idealism, but of practical realism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We often associate directness with a lack of subtlety, but here directness leads to a nerve jangling clarity, as King might approve. Tammy Vaitai, an alum of Youth Speaks’ “\u003ca href=\"http://youthspeaks.org/bravenewvoices/\" target=\"_blank\" rel=\"noopener\">Brave New Voices\u003c/a>” program, will perform a piece about Kenneth Young, a boy forced into committing armed robberies by his mother’s drug dealer. At the age of 14, Young was sentenced to three consecutive life terms. Vaitai’s piece foregrounds Young’s crimes and catches how we might see him as irredeemably criminal. Then, taking on Young’s voice, she shows how that’s impossible; that Young couldn’t possibly be the danger the justice system claims him to be.\u003c/p>\n\u003cfigure id=\"attachment_11240791\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240791 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-800x420.jpg\" alt=\"YouthSpeaksTammy Vaitai_16X9\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-768x403.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Vaitai performs at last year’s ‘Bringing the Noise for Dr. Martin Luther King Jr.’ (Photo: Courtesy of Youth Speaks.)\u003c/figcaption>\u003c/figure>\n\u003cp>Vaitai’s writing is sharp and shifty. It takes on King’s belief that love is “a durable power” and shows what happens when there is no love present. She forces us to ask what’s worse: a 14-year-old committing a series of armed robberies to protect his mother, or a society that finds Young’s unwitting criminality so wounding that it will take three of his lives to gain its forgiveness. Youth Speaks sets free what is so clear in Vaitai’s piece—the ability to look, then look again, and then tell a story.\u003c/p>\n\u003cp>Throughout 20th century modernism there was a rejection of the simple story. Art became fractured, opaque, a puzzle to be deciphered. To understand it you had to develop a monkish predilection for arcane modes of interpretation. Only those with special educations truly understood what was happening and it was somehow a betrayal to speak and write in clear, concise language. What a loss to art and sense that was.\u003c/p>\n\u003cp>Yet here we are in the beginning of the 21st century and the 19th year Youth Speaks has produced \u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003cem>Jr\u003c/em>. You will see the organization’s good work all over the stage, such as emcee and Brave New Voices alum Trey Amos’ trenchant commentary to a vibrant group of young people attempting to come to grips with King’s legacy. There will be lots of stories, sharp insights, and sizzling anger. There will also be the deep hope that if love and power can be brought together, we might one day hear a whole new set of stories.\u003c/p>\n\u003cp>This likely evolution will doubtless stem from one of the most inspiring and shocking aspects of the Youth Speaks philosophy — namely, how much the organization believes in and demands of the young. There’s a tendency in liberal thought to believe that real thinking is a product of age and advanced degrees, and especially from prestigious institutions. It’s as if we have summarily decided that the young, and especially youth from disadvantaged backgrounds, have no capacity for complex political thought.\u003c/p>\n\u003cp>Instead, we imagine them as the objects of political concern—what is to be done with them? What’s wrong with them? And why aren’t they acquiescing to our needs? Youth Speaks short circuits that narrative and urges its students to be alert to, engage with, and judge what they see around them. Even when what the students say is harsh and disparaging, it’s clear that the program never flinches. This is what thinking is. This is the beginning of a vital politics.\u003c/p>\n\u003cfigure id=\"attachment_11240895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240895 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg\" alt=\"Poster Art: Courtesy Youth Speaks.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster Art: Courtesy Youth Speaks.\u003c/figcaption>\u003c/figure>\n\u003cp>Youth Speaks’ \u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003c/a>plays for one night at the Nourse Theater, 275 Hayes on Monday, Jan. 18, 2016 at 7 pm.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Storytelling is an essential aspect of human consciousness. Without it we’d find ourselves trapped in the infinite daze of animal survival. With each new story, we evolve, often imperfectly, but sometimes with great hope.\u003c/p>\n\u003cp>This feeling of evolution is at the heart of \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr.\u003c/a>, \u003c/em>a long-running annual event created in honor of King’s birthday by the Bay Area-based, national youth slam poetry organization Youth Speaks. This year’s program takes place on Monday, Jan. 18 at the Norse Auditorium in San Francisco. And though there will be the outward trappings of a party—music, dancing, and a real desire to applaud King’s work and legacy—the young people of Youth Speaks are interested in something more than homage. They are after nothing less than an accounting of the tense, fractured society around them and us. It’s the type of direct political heat you rarely feel on our professional stages, or in the dry lines of contemporary poetry.\u003c/p>\n\u003cp>If you go to \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr. \u003c/a>—\u003c/em> and you should — you won’t be lectured at. The spoken word format has synthesized a strange but potent amalgamation of theater, poetry, and essay. It’s a demanding art form. When a master of it takes the stage, such as the New York rapper and poet Saul Williams, there’s a demonic energy, both in what the artist says and in his performance of it. You feel the same spirit in the Youth Speaks kids.\u003c/p>\n\u003cp>They aren’t being taught to be good and obedient performers, but rather to take on the complex role of the storyteller, which requires skill, commitment, and daring. This is citizenship as art, and we need citizens capable of unleashing social and political ideals that many of us would rather just keep quiet. So the evening is aptly named because these young people are taking the noise that surrounds us everyday, catching it, and shaping it into stories.\u003c/p>\n\u003cp>While attending a dress rehearsal for Monday’s event, I was continually taken aback by the philosophical and emotional depth of the program. The focus of the evening comes from a 1957 \u003cem>Ebony\u003c/em> magazine interview with King in which he makes a political connection between love and power: “I am convinced that love is the most durable power in the world. It is not an expression of impractical idealism, but of practical realism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We often associate directness with a lack of subtlety, but here directness leads to a nerve jangling clarity, as King might approve. Tammy Vaitai, an alum of Youth Speaks’ “\u003ca href=\"http://youthspeaks.org/bravenewvoices/\" target=\"_blank\" rel=\"noopener\">Brave New Voices\u003c/a>” program, will perform a piece about Kenneth Young, a boy forced into committing armed robberies by his mother’s drug dealer. At the age of 14, Young was sentenced to three consecutive life terms. Vaitai’s piece foregrounds Young’s crimes and catches how we might see him as irredeemably criminal. Then, taking on Young’s voice, she shows how that’s impossible; that Young couldn’t possibly be the danger the justice system claims him to be.\u003c/p>\n\u003cfigure id=\"attachment_11240791\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240791 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-800x420.jpg\" alt=\"YouthSpeaksTammy Vaitai_16X9\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-768x403.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Vaitai performs at last year’s ‘Bringing the Noise for Dr. Martin Luther King Jr.’ (Photo: Courtesy of Youth Speaks.)\u003c/figcaption>\u003c/figure>\n\u003cp>Vaitai’s writing is sharp and shifty. It takes on King’s belief that love is “a durable power” and shows what happens when there is no love present. She forces us to ask what’s worse: a 14-year-old committing a series of armed robberies to protect his mother, or a society that finds Young’s unwitting criminality so wounding that it will take three of his lives to gain its forgiveness. Youth Speaks sets free what is so clear in Vaitai’s piece—the ability to look, then look again, and then tell a story.\u003c/p>\n\u003cp>Throughout 20th century modernism there was a rejection of the simple story. Art became fractured, opaque, a puzzle to be deciphered. To understand it you had to develop a monkish predilection for arcane modes of interpretation. Only those with special educations truly understood what was happening and it was somehow a betrayal to speak and write in clear, concise language. What a loss to art and sense that was.\u003c/p>\n\u003cp>Yet here we are in the beginning of the 21st century and the 19th year Youth Speaks has produced \u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003cem>Jr\u003c/em>. You will see the organization’s good work all over the stage, such as emcee and Brave New Voices alum Trey Amos’ trenchant commentary to a vibrant group of young people attempting to come to grips with King’s legacy. There will be lots of stories, sharp insights, and sizzling anger. There will also be the deep hope that if love and power can be brought together, we might one day hear a whole new set of stories.\u003c/p>\n\u003cp>This likely evolution will doubtless stem from one of the most inspiring and shocking aspects of the Youth Speaks philosophy — namely, how much the organization believes in and demands of the young. There’s a tendency in liberal thought to believe that real thinking is a product of age and advanced degrees, and especially from prestigious institutions. It’s as if we have summarily decided that the young, and especially youth from disadvantaged backgrounds, have no capacity for complex political thought.\u003c/p>\n\u003cp>Instead, we imagine them as the objects of political concern—what is to be done with them? What’s wrong with them? And why aren’t they acquiescing to our needs? Youth Speaks short circuits that narrative and urges its students to be alert to, engage with, and judge what they see around them. Even when what the students say is harsh and disparaging, it’s clear that the program never flinches. This is what thinking is. This is the beginning of a vital politics.\u003c/p>\n\u003cfigure id=\"attachment_11240895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240895 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg\" alt=\"Poster Art: Courtesy Youth Speaks.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster Art: Courtesy Youth Speaks.\u003c/figcaption>\u003c/figure>\n\u003cp>Youth Speaks’ \u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003c/a>plays for one night at the Nourse Theater, 275 Hayes on Monday, Jan. 18, 2016 at 7 pm.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Six Bay Area nonprofit theater groups received thousands of dollars in grants last week to help produce new works from local playwrights as part of the 2015 Theater Commissioning Awards.\u003c/p>\n\u003cp>Campo Santo, Magic Theatre, Youth Speaks, Z Space, San Jose Stage Company and the Shotgun Players each won a $50,000 grant from The Wallace Alexander Gerbode and The William and Flora Hewlett foundations.\u003c/p>\n\u003cp>Chosen under the guidance of a panel of theater experts, this year’s recipients will be funding stage productions about important issues in the Bay Area, such as gentrification and social disparity, through biographical dramas and modern reimagining of classic and historical events.\u003c/p>\n\u003cp>“I thought it was dope that Gerbode addressed diversity with the award – that’s what we’ve been fighting for in the theatre community,” said Paul S. Flores, a poet and playwright working with grant recipient Youth Speaks on a piece about police prejudices in the community. “(Gerbode and Hewlett) wanted to bring in 21st century narratives on police violence and gender struggles and other topics with cultural specificity, and I wish more grants would do it.”\u003c/p>\n\u003cp>Among the other playwrights who received awards was Luis Valdez, founder of the legendary \u003ca href=\"http://elteatrocampesino.com/\">El Teatro Campesino\u003c/a> in San Jose and writer-director of the 1987 Ritchie Valens biopic \u003cem>La Bamba\u003c/em>. His piece \u003cem>Adios, Mama Carlota – Empress of Mexico, \u003c/em>a glimpse into French-occupied Mexico through Empress Carlota’s eyes, is a joint project between El Teatro Campesino and the San Jose Stage Company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Novelist Jessica Hagedorn, in collaboration with Magic Theatre’s artistic director Loretta Greco, also received a grant to produce an adaptation of \u003cem>The Gangster of Love\u003c/em>, her 1996 novel about a Filipino artist and her experience emigrating to San Francisco in the 1970s.\u003c/p>\n\u003cp>The finished works are expected to premiere in the Bay Area between December 2017 and June 2018.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The awards are the result of a three-year $900,000 program from the Gerbode and Hewlett foundations aiming to invest in local performing artists and their projects. Music will be the focus of 2016’s commissioning awards, \u003ca href=\"http://us9.campaign-archive2.com/?u=8a5b27f5f910fbf6e6379b071&id=9f4ca57423&e=b94eddc867\" target=\"_blank\" rel=\"noopener\">according to a press release\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Six Bay Area nonprofit theater groups received thousands of dollars in grants last week to help produce new works from local playwrights as part of the 2015 Theater Commissioning Awards.\u003c/p>\n\u003cp>Campo Santo, Magic Theatre, Youth Speaks, Z Space, San Jose Stage Company and the Shotgun Players each won a $50,000 grant from The Wallace Alexander Gerbode and The William and Flora Hewlett foundations.\u003c/p>\n\u003cp>Chosen under the guidance of a panel of theater experts, this year’s recipients will be funding stage productions about important issues in the Bay Area, such as gentrification and social disparity, through biographical dramas and modern reimagining of classic and historical events.\u003c/p>\n\u003cp>“I thought it was dope that Gerbode addressed diversity with the award – that’s what we’ve been fighting for in the theatre community,” said Paul S. Flores, a poet and playwright working with grant recipient Youth Speaks on a piece about police prejudices in the community. “(Gerbode and Hewlett) wanted to bring in 21st century narratives on police violence and gender struggles and other topics with cultural specificity, and I wish more grants would do it.”\u003c/p>\n\u003cp>Among the other playwrights who received awards was Luis Valdez, founder of the legendary \u003ca href=\"http://elteatrocampesino.com/\">El Teatro Campesino\u003c/a> in San Jose and writer-director of the 1987 Ritchie Valens biopic \u003cem>La Bamba\u003c/em>. His piece \u003cem>Adios, Mama Carlota – Empress of Mexico, \u003c/em>a glimpse into French-occupied Mexico through Empress Carlota’s eyes, is a joint project between El Teatro Campesino and the San Jose Stage Company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Novelist Jessica Hagedorn, in collaboration with Magic Theatre’s artistic director Loretta Greco, also received a grant to produce an adaptation of \u003cem>The Gangster of Love\u003c/em>, her 1996 novel about a Filipino artist and her experience emigrating to San Francisco in the 1970s.\u003c/p>\n\u003cp>The finished works are expected to premiere in the Bay Area between December 2017 and June 2018.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The awards are the result of a three-year $900,000 program from the Gerbode and Hewlett foundations aiming to invest in local performing artists and their projects. Music will be the focus of 2016’s commissioning awards, \u003ca href=\"http://us9.campaign-archive2.com/?u=8a5b27f5f910fbf6e6379b071&id=9f4ca57423&e=b94eddc867\" target=\"_blank\" rel=\"noopener\">according to a press release\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>David Bowie’s gone. The world weeps. Like many kids growing up in the UK in the 1970s and 80s, the British rock icon’s music — yes, even the slightly questionable stuff from his New Wave and pop era — spoke to me in a way that no other music possibly could. I owned a pair of red shoes. I learned, for a bit, to dance the blues. I once painted lightning flashes on my face for a costume party.\u003c/p>\n\u003cp>As much as to say that Bowie’s impact hasn’t just been left on the music world. Performing artists of all stripes owe the great man a great debt, including, in the Bay Area, gender-pushers like \u003ca href=\"http://www.fauxnique.net/\" target=\"_blank\" rel=\"noopener\">Fauxnique \u003c/a>(Monique Jenkinson) and the cabaret/tribute act \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual.\u003c/a>\u003c/p>\n\u003cp>Bowie himself was no stranger to the theater. It’s no surprise that the rest of the run of the Bowie musical \u003cem>\u003ca href=\"http://www.nytw.org/show/lazarus/\" target=\"_blank\" rel=\"noopener\">Lazarus\u003c/a>\u003c/em>, currently playing in New York is, barring a single pair of tickets at $1242 apiece, entirely sold out. (Bowie co-wrote the piece; it takes its inspiration from the 1963 novel \u003cem>The Man Who Fell to Earth\u003c/em> by Walter Tevis, and features many classic Bowie songs.) But like all inimitable artists, it won’t be too long, I expect, before we start to see more theatrical and film tributes to Bowie coming down the pike.\u003c/p>\n\u003cp>Speaking of which, Bay Area performing arts organizations are currently resurrecting two other great cultural figures from the dead. American Conservatory Theater in San Francisco and Cinnabar Theater in Petaluma’s concurrent shows — about music greats Louis Armstrong and Mahalia Jackson respectively — take stock of the lives of these monumental artists in a way that’s both celebratory and unflinching. Perhaps seeing these biographical productions will inspire fans to dream up their own theatrical interpretations of Bowie’s life .\u003c/p>\n\u003cp>\u003cstrong>Now through Wednesday, Jan. 13: Anton’s Well Theater Company presents \u003cem>\u003ca href=\"http://antonswell.org/\" target=\"_blank\" rel=\"noopener\">Dying City\u003c/a>\u003c/em> at the Berkeley City Club, Berkeley.\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">In East Coast dramatist Christopher Shinn’s 2006 drama, Kelly, a therapist, tries to get over the untimely death of her husband, Craig, a soldier who was killed while on active duty in Iraq, by watching endless episodes of \u003cem>Law and Order\u003c/em>. When the deceased’s twin brother, Peter, shows up to reminisce and console her, Kelly’s depression worsens and Peter struggles with his own feelings of loss. The taut, provocative play — staged by newcomer theater company Anton’s Well and appreciatively reviewed by KQED’s Jeffrey Edalatpour — was a finalist for the Pulitzer Prize for drama in 2008.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11221245\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11221245\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png\" alt=\"'Feathers of Fire'\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-400x253.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-768x485.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-1180x745.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-960x606.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492.png 1276w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Feathers of Fire’ \u003ccite>(Photo: Hamid Rahmanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 16 – Monday, Jan. 18: Fictionville Studio, Banu Productions and ShadowLight Productions present \u003cem>\u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">Feathers of Fire\u003c/a>\u003c/em> at The Cowell Theater, San Francisco.\u003c/strong>\u003cbr>\n\u003cem>Romeo and Juliet\u003c/em>, \u003cem>Rapunzel\u003c/em> and \u003cem>The Jungle Book\u003c/em> collide in this mythical tale about a pair of star-crossed lovers based on \u003cem>Shahnama \u003c/em>(\u003cem>The Book of Kings\u003c/em>), an ancient Persian text. Composed at the end of the 10th Century by the poet Ferdowsi, it’s the world’s longest piece of epic poetry written by a single — and obviously very single-minded — scribe and tells a tale that begins with the creation of the world and ends with the Islamic invasion of Persia in the 7th century. The august Bay Area puppet company, ShadowLight Productions, is teaming up with Guggenheim fellow, visual artist and filmmaker, Hamid Rahmanian to create a colorful performance that includes more than 160 hand-made shadow puppets, live animation and music from the Iranian band Niyaz. These local preview performances precede the show’s official world premiere at the Brooklyn Academy of Music in New York in February.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan, 17: punkkiCo Dance Company presents \u003cem>\u003ca href=\"http://www.theatreofyugen.org/new-events/2016/1/9/salve-regina-punkkico-dance-company\" target=\"_blank\" rel=\"noopener\">Salve Regina\u003c/a>\u003c/em> at NOHSpace, San Francisco.\u003c/strong>\u003cbr>\nRepresentations of the female body as mystical, beautiful and utterly terrifying are as old as human civilization. It’s not for nothing that the legend of the \u003cem>vagina dentata\u003c/em> isn’t unique to western culture — saber-toothed lady-parts pop up in Hindu, Shinto and Maori mythologies too. And now the Finnish-born, Bay Area-based choreographer is celebrating the many facets of the female form in a new six-part dance work. The piece delves into politically strident topics like religion’s obsession with virginity and what happens when women’s bodies are covered vs. uncovered. Oh, and the show also includes a pregnant woman performing a duet with her gestating fetus.\u003c/p>\n\u003cfigure id=\"attachment_11194650\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11194650 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg\" alt=\"Sharon E. Scott as Mahalia Jackson\" width=\"742\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965-400x265.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Sharon E. Scott as Mahalia Jackson \u003ccite>(Photo: Desmond J Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.cinnabartheater.org/mahaliajackson/\" target=\"_blank\" rel=\"noopener\">Mahalia Jackson: Just As I Am\u003c/a>\u003c/em> at Cinnabar Theater, Petaluma.\u003c/strong>\u003cbr>\nMahalia Jackson, America’s undisputed “Queen of Gospel,” was heralded internationally for her lusty contralto voice and her fierce activism. The famous vocalist’s brilliant and challenging life gets an appropriately musical retelling in actor and singer Sharon E. Scott’s show. Cinnabar Theater presents the west coast premiere of Scott’s show, for which the New York-born performer has won praise — both for her gobsmacking stage presence and for the holy rollin’ power of her voice.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13 – Sunday, Feb. 7: \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> at the American Conservatory Theater, San Francisco\u003c/strong>\u003cbr>\nTheater-critic-turned-dramatist Terry Teachout’s solo show about Louis Armstrong (whose nickname was “Satchmo,” short for “satchel-mouth”) explores the last days of the great American jazz trumpeter’s life. The play takes place in 1971 at the Waldorf-Astoria Hotel in New York City after the last performance the by-then-physically-frail musician ever gave and captures Armstrong’s conflicted relationships with his mobster agent Joe Glaser and jazz great Miles Davis. Powerhouse Canadian-American actor John Douglas Thompson — over whom \u003cem>The New York Times\u003c/em> gushed: “There may be no better classical actor working in the New York theater right now” — portrays all three roles.\u003c/p>\n\u003cp>Other upcoming events you should endeavor not to miss:\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan 14 – Saturday, Jan. 16: Company Wayne McGregor presents \u003cem>\u003ca href=\"http://www.ybca.org/wayne-mcgregor-atomos\" target=\"_blank\" rel=\"noopener\">Atomos\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Monday, Jan. 18: Youth Speaks presents \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">19th Annual Bringing the Noise for Dr. Martin Luther King\u003c/a>\u003c/em> at the Nourse Theatre, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 7 – Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">SF Sketchfest\u003c/a>\u003c/em> at various venues around San Francisco\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bowie’s gone. The world weeps. Like many kids growing up in the UK in the 1970s and 80s, the British rock icon’s music — yes, even the slightly questionable stuff from his New Wave and pop era — spoke to me in a way that no other music possibly could. I owned a pair of red shoes. I learned, for a bit, to dance the blues. I once painted lightning flashes on my face for a costume party.\u003c/p>\n\u003cp>As much as to say that Bowie’s impact hasn’t just been left on the music world. Performing artists of all stripes owe the great man a great debt, including, in the Bay Area, gender-pushers like \u003ca href=\"http://www.fauxnique.net/\" target=\"_blank\" rel=\"noopener\">Fauxnique \u003c/a>(Monique Jenkinson) and the cabaret/tribute act \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual.\u003c/a>\u003c/p>\n\u003cp>Bowie himself was no stranger to the theater. It’s no surprise that the rest of the run of the Bowie musical \u003cem>\u003ca href=\"http://www.nytw.org/show/lazarus/\" target=\"_blank\" rel=\"noopener\">Lazarus\u003c/a>\u003c/em>, currently playing in New York is, barring a single pair of tickets at $1242 apiece, entirely sold out. (Bowie co-wrote the piece; it takes its inspiration from the 1963 novel \u003cem>The Man Who Fell to Earth\u003c/em> by Walter Tevis, and features many classic Bowie songs.) But like all inimitable artists, it won’t be too long, I expect, before we start to see more theatrical and film tributes to Bowie coming down the pike.\u003c/p>\n\u003cp>Speaking of which, Bay Area performing arts organizations are currently resurrecting two other great cultural figures from the dead. American Conservatory Theater in San Francisco and Cinnabar Theater in Petaluma’s concurrent shows — about music greats Louis Armstrong and Mahalia Jackson respectively — take stock of the lives of these monumental artists in a way that’s both celebratory and unflinching. Perhaps seeing these biographical productions will inspire fans to dream up their own theatrical interpretations of Bowie’s life .\u003c/p>\n\u003cp>\u003cstrong>Now through Wednesday, Jan. 13: Anton’s Well Theater Company presents \u003cem>\u003ca href=\"http://antonswell.org/\" target=\"_blank\" rel=\"noopener\">Dying City\u003c/a>\u003c/em> at the Berkeley City Club, Berkeley.\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">In East Coast dramatist Christopher Shinn’s 2006 drama, Kelly, a therapist, tries to get over the untimely death of her husband, Craig, a soldier who was killed while on active duty in Iraq, by watching endless episodes of \u003cem>Law and Order\u003c/em>. When the deceased’s twin brother, Peter, shows up to reminisce and console her, Kelly’s depression worsens and Peter struggles with his own feelings of loss. The taut, provocative play — staged by newcomer theater company Anton’s Well and appreciatively reviewed by KQED’s Jeffrey Edalatpour — was a finalist for the Pulitzer Prize for drama in 2008.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11221245\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11221245\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png\" alt=\"'Feathers of Fire'\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-400x253.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-768x485.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-1180x745.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-960x606.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492.png 1276w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Feathers of Fire’ \u003ccite>(Photo: Hamid Rahmanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 16 – Monday, Jan. 18: Fictionville Studio, Banu Productions and ShadowLight Productions present \u003cem>\u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">Feathers of Fire\u003c/a>\u003c/em> at The Cowell Theater, San Francisco.\u003c/strong>\u003cbr>\n\u003cem>Romeo and Juliet\u003c/em>, \u003cem>Rapunzel\u003c/em> and \u003cem>The Jungle Book\u003c/em> collide in this mythical tale about a pair of star-crossed lovers based on \u003cem>Shahnama \u003c/em>(\u003cem>The Book of Kings\u003c/em>), an ancient Persian text. Composed at the end of the 10th Century by the poet Ferdowsi, it’s the world’s longest piece of epic poetry written by a single — and obviously very single-minded — scribe and tells a tale that begins with the creation of the world and ends with the Islamic invasion of Persia in the 7th century. The august Bay Area puppet company, ShadowLight Productions, is teaming up with Guggenheim fellow, visual artist and filmmaker, Hamid Rahmanian to create a colorful performance that includes more than 160 hand-made shadow puppets, live animation and music from the Iranian band Niyaz. These local preview performances precede the show’s official world premiere at the Brooklyn Academy of Music in New York in February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan, 17: punkkiCo Dance Company presents \u003cem>\u003ca href=\"http://www.theatreofyugen.org/new-events/2016/1/9/salve-regina-punkkico-dance-company\" target=\"_blank\" rel=\"noopener\">Salve Regina\u003c/a>\u003c/em> at NOHSpace, San Francisco.\u003c/strong>\u003cbr>\nRepresentations of the female body as mystical, beautiful and utterly terrifying are as old as human civilization. It’s not for nothing that the legend of the \u003cem>vagina dentata\u003c/em> isn’t unique to western culture — saber-toothed lady-parts pop up in Hindu, Shinto and Maori mythologies too. And now the Finnish-born, Bay Area-based choreographer is celebrating the many facets of the female form in a new six-part dance work. The piece delves into politically strident topics like religion’s obsession with virginity and what happens when women’s bodies are covered vs. uncovered. Oh, and the show also includes a pregnant woman performing a duet with her gestating fetus.\u003c/p>\n\u003cfigure id=\"attachment_11194650\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11194650 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg\" alt=\"Sharon E. Scott as Mahalia Jackson\" width=\"742\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965-400x265.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Sharon E. Scott as Mahalia Jackson \u003ccite>(Photo: Desmond J Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.cinnabartheater.org/mahaliajackson/\" target=\"_blank\" rel=\"noopener\">Mahalia Jackson: Just As I Am\u003c/a>\u003c/em> at Cinnabar Theater, Petaluma.\u003c/strong>\u003cbr>\nMahalia Jackson, America’s undisputed “Queen of Gospel,” was heralded internationally for her lusty contralto voice and her fierce activism. The famous vocalist’s brilliant and challenging life gets an appropriately musical retelling in actor and singer Sharon E. Scott’s show. Cinnabar Theater presents the west coast premiere of Scott’s show, for which the New York-born performer has won praise — both for her gobsmacking stage presence and for the holy rollin’ power of her voice.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13 – Sunday, Feb. 7: \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> at the American Conservatory Theater, San Francisco\u003c/strong>\u003cbr>\nTheater-critic-turned-dramatist Terry Teachout’s solo show about Louis Armstrong (whose nickname was “Satchmo,” short for “satchel-mouth”) explores the last days of the great American jazz trumpeter’s life. The play takes place in 1971 at the Waldorf-Astoria Hotel in New York City after the last performance the by-then-physically-frail musician ever gave and captures Armstrong’s conflicted relationships with his mobster agent Joe Glaser and jazz great Miles Davis. Powerhouse Canadian-American actor John Douglas Thompson — over whom \u003cem>The New York Times\u003c/em> gushed: “There may be no better classical actor working in the New York theater right now” — portrays all three roles.\u003c/p>\n\u003cp>Other upcoming events you should endeavor not to miss:\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan 14 – Saturday, Jan. 16: Company Wayne McGregor presents \u003cem>\u003ca href=\"http://www.ybca.org/wayne-mcgregor-atomos\" target=\"_blank\" rel=\"noopener\">Atomos\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Monday, Jan. 18: Youth Speaks presents \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">19th Annual Bringing the Noise for Dr. Martin Luther King\u003c/a>\u003c/em> at the Nourse Theatre, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 7 – Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">SF Sketchfest\u003c/a>\u003c/em> at various venues around San Francisco\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.berkeleyrep.org/index.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre’s\u003c/a> Thrust stage, named for the way it juts into the audience, doesn’t look that different from its original incarnation, despite undergoing $7 million in renovations over the last nine months.\u003c/p>\n\u003cp>But there are changes that are difficult to miss for longtime attendees. First, it’s been renamed the Peet’s Theatre, to honor a partnership with the\u003ca href=\"http://www.peets.com/about-us/company-info/investor-relations\" target=\"_blank\" rel=\"noopener\"> Berkeley coffee company, now owned by a German investment firm\u003c/a>, and the room’s 400 seats are more comfortable and less squeaky.\u003c/p>\n\u003cp>“We actually found the original person that built our seats,” said Production Manager Peter Dean, “a gentleman by the name of Smokey, who took the original seats out, restuffed them, and they actually look brand new.”\u003c/p>\n\u003cp>But the big changes, Dean said during a recent visit, are hidden in the walls: upgrades to the electrical system of a theater that originally opened in 1980. And Dean says audiences should be able to hear the most important change, the installation of a \u003ca href=\"http://www.meyersound.com/product/constellation/\" target=\"_blank\" rel=\"noopener\">Constellation Acoustic System from Berkeley’s Meyer Sound\u003c/a>.\u003c/p>\n\u003cp>“Characters will be able to face upstage,” Dean said, “and speak in a whisper volume, and still be heard clear as day out in the house.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These days wireless microphones are becoming ubiquitous in live theater, usually for musicals. But those headsets peeking out from wigs and curled around actors’ ears often don’t sound very good, and voices can be muffled when costumes get in the way.\u003c/p>\n\u003cp>The Constellation system is different. It’s a computer run network of microphones and speakers tucked away in the ceiling, that pick up and amplify any sound the engineers want to amplify.\u003c/p>\n\u003cfigure id=\"attachment_11230998\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11230998\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Harrison-Burke-1180x885.jpg\" alt=\"Berkeley Rep Lighting Fellow Harrison Burke\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley Rep Lighting Fellow Harrison Burke \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a tour of the newly renovated theater, Dean invites me on stage for a demonstration. He claps his hands with the system on, and the noise seems to fill the room. Then he claps with it off, and the sound dies quickly.\u003c/p>\n\u003cp>“It’s sort of weird,” Dean says. “After talking with Constellation on for a little while, after Constellation has gone away, there’s almost a feeling of I can’t quite get the words out loud enough. There’s a feeling of actually being held back.”\u003c/p>\n\u003cp>Still, Dean says audience members shouldn’t even notice the Constellation system, except for how easy it is to hear every line of dialogue even in the last row. It’s proved itself with some very picky listeners at \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">Soundbox\u003c/a>, the San Francisco Symphony’s experimental space, which opened last year. But this will be Constellation’s first use in a stage theater in North America.\u003c/p>\n\u003cp>Berkeley Rep’s Sound supervisor James Ballen says he thinks audiences will find the Meyer Constellation system creates a feeling inside them. “So when you have a gunshot,” Ballen said, “instead of feeling like it’s on stage, or over there, it’s going to feel like you’re really connected to it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Audiences will get to critique the new Peet’s Theatre in early \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">February when it hosts a world premiere by Los Angeles playwright Julia Cho.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.berkeleyrep.org/index.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre’s\u003c/a> Thrust stage, named for the way it juts into the audience, doesn’t look that different from its original incarnation, despite undergoing $7 million in renovations over the last nine months.\u003c/p>\n\u003cp>But there are changes that are difficult to miss for longtime attendees. First, it’s been renamed the Peet’s Theatre, to honor a partnership with the\u003ca href=\"http://www.peets.com/about-us/company-info/investor-relations\" target=\"_blank\" rel=\"noopener\"> Berkeley coffee company, now owned by a German investment firm\u003c/a>, and the room’s 400 seats are more comfortable and less squeaky.\u003c/p>\n\u003cp>“We actually found the original person that built our seats,” said Production Manager Peter Dean, “a gentleman by the name of Smokey, who took the original seats out, restuffed them, and they actually look brand new.”\u003c/p>\n\u003cp>But the big changes, Dean said during a recent visit, are hidden in the walls: upgrades to the electrical system of a theater that originally opened in 1980. And Dean says audiences should be able to hear the most important change, the installation of a \u003ca href=\"http://www.meyersound.com/product/constellation/\" target=\"_blank\" rel=\"noopener\">Constellation Acoustic System from Berkeley’s Meyer Sound\u003c/a>.\u003c/p>\n\u003cp>“Characters will be able to face upstage,” Dean said, “and speak in a whisper volume, and still be heard clear as day out in the house.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These days wireless microphones are becoming ubiquitous in live theater, usually for musicals. But those headsets peeking out from wigs and curled around actors’ ears often don’t sound very good, and voices can be muffled when costumes get in the way.\u003c/p>\n\u003cp>The Constellation system is different. It’s a computer run network of microphones and speakers tucked away in the ceiling, that pick up and amplify any sound the engineers want to amplify.\u003c/p>\n\u003cfigure id=\"attachment_11230998\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11230998\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Harrison-Burke-1180x885.jpg\" alt=\"Berkeley Rep Lighting Fellow Harrison Burke\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Harrison-Burke-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley Rep Lighting Fellow Harrison Burke \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a tour of the newly renovated theater, Dean invites me on stage for a demonstration. He claps his hands with the system on, and the noise seems to fill the room. Then he claps with it off, and the sound dies quickly.\u003c/p>\n\u003cp>“It’s sort of weird,” Dean says. “After talking with Constellation on for a little while, after Constellation has gone away, there’s almost a feeling of I can’t quite get the words out loud enough. There’s a feeling of actually being held back.”\u003c/p>\n\u003cp>Still, Dean says audience members shouldn’t even notice the Constellation system, except for how easy it is to hear every line of dialogue even in the last row. It’s proved itself with some very picky listeners at \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">Soundbox\u003c/a>, the San Francisco Symphony’s experimental space, which opened last year. But this will be Constellation’s first use in a stage theater in North America.\u003c/p>\n\u003cp>Berkeley Rep’s Sound supervisor James Ballen says he thinks audiences will find the Meyer Constellation system creates a feeling inside them. “So when you have a gunshot,” Ballen said, “instead of feeling like it’s on stage, or over there, it’s going to feel like you’re really connected to it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Audiences will get to critique the new Peet’s Theatre in early \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">February when it hosts a world premiere by Los Angeles playwright Julia Cho.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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