window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_11104902": {
"type": "attachments",
"id": "arts_11104902",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11104902",
"found": true
},
"parent": 11104332,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275.jpg",
"width": 2087,
"height": 1173
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/DF2012_YEE5075_press-e1448352485275-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1448334304,
"modified": 1448334441,
"caption": "Members of the Can-Can Bijou, at the Dickens Fair.",
"description": "Members of the Can-Can Bijou, at the Dickens Fair.",
"title": "DF2012_YEE5075_press",
"credit": "Photo: Rich Yee",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11094198": {
"type": "attachments",
"id": "arts_11094198",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11094198",
"found": true
},
"parent": 11094088,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 199
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-960x479.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 479
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg",
"width": 1920,
"height": 957
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1180x588.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 588
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-800x399.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 399
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1920x957.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 957
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1180x588.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 588
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1447963677,
"modified": 1448067662,
"caption": "'Disgraced' playwright Ayad Akhtar",
"description": "'Disgraced' playwright Ayad Akhtar\n",
"title": "'Disgraced' playwright Ayad Akhtar",
"credit": " Photo: Nina Subin/Berkeley Rep",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11094297": {
"type": "attachments",
"id": "arts_11094297",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11094297",
"found": true
},
"parent": 11094088,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849.jpg",
"width": 4277,
"height": 2411
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-1920x1082.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1082
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk-1-e1447964607849-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1447964529,
"modified": 1447964589,
"caption": "Molodi will perform at the Body Music Mini-Fest this Saturday, Nov. 21 at Freight & Salvage in Berkeley. ",
"description": "Molodi will perform at the Body Music Mini-Fest this Saturday, Nov. 21 at Freight & Salvage in Berkeley.",
"title": "19456-06-International-Body-Music-Festival-Credit-Mike-Melnyk (1)",
"credit": "Mike Melnyk",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11089221": {
"type": "attachments",
"id": "arts_11089221",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11089221",
"found": true
},
"parent": 11089216,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181.jpg",
"width": 1632,
"height": 918
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/IMG_469395579-e1447792033181-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1447786882,
"modified": 1447792043,
"caption": "Hard hat tour of the new Wilsey Opera Center in the Veteran's Building",
"description": "Hard hat tour of the new Wilsey Opera Center in the Veteran's Building",
"title": "Hard hat tour of the new Wilsey Opera Center in the Veteran's Building",
"credit": "Photo: Cy Musiker",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11086737": {
"type": "attachments",
"id": "arts_11086737",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11086737",
"found": true
},
"parent": 11084011,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-960x542.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 542
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542.jpg",
"width": 1780,
"height": 1005
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-800x452.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 452
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/SFIHHDF-e1447700122542-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1447700058,
"modified": 1447700092,
"caption": "Academy of Villains at the San Francisco International Hip Hop Festival",
"description": "Academy of Villains at the San Francisco International Hip Hop Festival",
"title": "SFIHHDF",
"credit": "Photo: Blake Tucker",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11074115": {
"type": "attachments",
"id": "arts_11074115",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11074115",
"found": true
},
"parent": 11074111,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o.jpg",
"width": 2400,
"height": 1600
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/4546291263_1cd908c105_o-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1447271300,
"modified": 1447388462,
"caption": "From left to right: Hannah Kenah, Lana Lesley, Jason Liebrecht, Shawn Sides, Thomas Graves in Rude Mechs' 'The Method Gun'",
"description": "From left to right: Hannah Kenah, Lana Lesley, Jason Liebrecht, Shawn Sides, Thomas Graves in Rude Mechs' 'The Method Gun'",
"title": "4546291263_1cd908c105_o",
"credit": "Photo: Alan Simons",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11036747": {
"type": "attachments",
"id": "arts_11036747",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11036747",
"found": true
},
"parent": 11036745,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/spider_opera4928-e1447175933736-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1445895435,
"modified": 1445993257,
"caption": "Opera Parallèle's first Hands-on-Opera was Peter Maxwell Davies' The Spiders' Revenge with students from Daniel Webster Elementary.",
"description": "The Spiders' Revenge",
"title": "The Spiders' Revenge",
"credit": "Photo: Steve Di Bartolomeo",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11061737": {
"type": "attachments",
"id": "arts_11061737",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11061737",
"found": true
},
"parent": 11060200,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Palace-of-Fine-arts-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Palace-of-Fine-arts-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Palace-of-Fine-arts.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Palace-of-Fine-arts-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Palace-of-Fine-arts-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Palace-of-Fine-arts-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Palace-of-Fine-arts-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Palace-of-Fine-arts-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/Palace-of-Fine-arts-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1446838457,
"modified": 1447190263,
"caption": "Birds swim near the Palace of Fine Arts rotunda. ",
"description": "Birds swim near the Palace of Fine Arts rotunda ",
"title": "San Francisco's Palace of Fine Arts Gets A Face Lift",
"credit": "Photo: Justin Sullivan/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11059815": {
"type": "attachments",
"id": "arts_11059815",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11059815",
"found": true
},
"parent": 11059814,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/7495df_faac680c1e35408388cf19f7280e5d6e.jpg_srb_p_650_469_75_22_0.50_1.20_0-e1447124831608-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/7495df_faac680c1e35408388cf19f7280e5d6e.jpg_srb_p_650_469_75_22_0.50_1.20_0-650x372.jpg",
"width": 650,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/7495df_faac680c1e35408388cf19f7280e5d6e.jpg_srb_p_650_469_75_22_0.50_1.20_0-e1447124831608.jpg",
"width": 648,
"height": 365
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/7495df_faac680c1e35408388cf19f7280e5d6e.jpg_srb_p_650_469_75_22_0.50_1.20_0-e1447124831608-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/7495df_faac680c1e35408388cf19f7280e5d6e.jpg_srb_p_650_469_75_22_0.50_1.20_0-e1447124831608-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/7495df_faac680c1e35408388cf19f7280e5d6e.jpg_srb_p_650_469_75_22_0.50_1.20_0-e1447124831608-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/7495df_faac680c1e35408388cf19f7280e5d6e.jpg_srb_p_650_469_75_22_0.50_1.20_0-e1447124831608-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/7495df_faac680c1e35408388cf19f7280e5d6e.jpg_srb_p_650_469_75_22_0.50_1.20_0-e1447124831608-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1446764902,
"modified": 1446764972,
"caption": "Elliott Gittelsohn and TT Robson in 'Salvage' at the Kinetic Arts Center\n",
"description": "Elliott Gittelsohn and TT Robson in 'Salvage' at the Kinetic Arts Center",
"title": "Salvage",
"credit": "Photo: Luiza Silva/Kinetic Arts Center",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11041093": {
"type": "attachments",
"id": "arts_11041093",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11041093",
"found": true
},
"parent": 11040991,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-960x641.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 641
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera.jpg",
"width": 2248,
"height": 1500
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-1920x1281.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1281
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/GQ3-c-Pat-Mazzera-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1446049918,
"modified": 1446151063,
"caption": "Brittain Ashford (left) and Gelsey Bell conjure up the dead in 'Ghost Quartet' at the Curran Theatre. ",
"description": "Brittain Ashford (left) and Gelsey Bell conjure up the dead in 'Ghost Quartet' at the Curran Theatre. (Photo: Pat Mazzera)",
"title": "Ghost Quartet @ Curran Theatre",
"credit": "Photo: Pat Mazzera",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11042061": {
"type": "attachments",
"id": "arts_11042061",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11042061",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound-400x263.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 263
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound-960x632.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 632
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound.jpg",
"width": 1024,
"height": 674
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound-800x527.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 527
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/Marga-Gomez-in-Pound-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1446081720,
"modified": 1446146516,
"caption": "Marga Gomez in Pound",
"description": "Marga Gomez in Pound",
"title": "Marga Gomez in Pound",
"credit": "Photo: Ian Douglas",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11015915": {
"type": "attachments",
"id": "arts_11015915",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11015915",
"found": true
},
"parent": 11015827,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/DawnMAIN-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/DawnMAIN-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/DawnMAIN.jpg",
"width": 800,
"height": 451
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/DawnMAIN-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/DawnMAIN-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/DawnMAIN-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/DawnMAIN-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/DawnMAIN-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/10/DawnMAIN-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1445043466,
"modified": 1445043816,
"caption": "Dawn Roth-Golden serves as a prop artisan at San Francisco Opera.",
"description": "Dawn Roth-Golden serves as a prop artisan at San Francisco Opera.",
"title": "DawnMAIN",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"thedolist": {
"type": "authors",
"id": "3215",
"meta": {
"index": "authors_1716337520",
"id": "3215",
"found": true
},
"name": "The Do List",
"firstName": "Do",
"lastName": "List",
"slug": "thedolist",
"email": "harold.check+dolist@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "The Do List scours the Bay Area for superb and surprising performing arts events, with an eye for local talent, new discoveries, and fun opportunities across the price spectrum. Every Friday morning at 6:23 and 8:23am on KQED Radio, you can hear Do List regulars Cy Musiker and David Wiegand discuss the upcoming week's best picks.",
"avatar": "https://secure.gravatar.com/avatar/25ef8068d096493f649195742621360d?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "The Do List | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/25ef8068d096493f649195742621360d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/25ef8068d096493f649195742621360d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/thedolist"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"hswanhuyser": {
"type": "authors",
"id": "8641",
"meta": {
"index": "authors_1716337520",
"id": "8641",
"found": true
},
"name": "Hiya Swanhuyser",
"firstName": "Hiya",
"lastName": "Swanhuyser",
"slug": "hswanhuyser",
"email": "hiya.swanhuyser@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/ac82519cf874a4b89d7bb4486ab403ef?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Hiya Swanhuyser | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ac82519cf874a4b89d7bb4486ab403ef?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ac82519cf874a4b89d7bb4486ab403ef?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/hswanhuyser"
},
"ctiee": {
"type": "authors",
"id": "8660",
"meta": {
"index": "authors_1716337520",
"id": "8660",
"found": true
},
"name": "Charlise Tiee",
"firstName": "Charlise",
"lastName": "Tiee",
"slug": "ctiee",
"email": "snailwing@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Bay Area-based writer and painter. Reviews performances of classical music and audience behavior at \u003ca href=\"http://operatattler.com\" target=\"_blank\">The Opera Tattler\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Charlise Tiee | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ctiee"
},
"jwilkins": {
"type": "authors",
"id": "8668",
"meta": {
"index": "authors_1716337520",
"id": "8668",
"found": true
},
"name": "John Wilkins",
"firstName": "John",
"lastName": "Wilkins",
"slug": "jwilkins",
"email": "Johnrwilkins@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "John Wilkins is the theater critic for KQED Arts. He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2",
"avatar": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "John Wilkins | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jwilkins"
}
},
"pagesReducer": {
"arts_category_theater": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"score": 12.28665
},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"title": "Theater",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 66
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=theater",
"seeMore": false,
"paginated": true,
"page": 66
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_11104332": {
"type": "posts",
"id": "arts_11104332",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11104332",
"score": null,
"sort": [
1448395247000
]
},
"guestAuthors": [],
"slug": "show-me-yours-the-forty-part-motet-al-madrigal-and-more",
"title": "Show Me Yours: 'The Forty Part Motet', Al Madrigal, and more",
"publishDate": 1448395247,
"format": "standard",
"headTitle": "Show Me Yours: ‘The Forty Part Motet’, Al Madrigal, and more | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>If there’s one thing you shouldn’t pass up this holiday season, it’s the opportunity to experience \u003cem>\u003ca href=\"http://fortmason.org/event/forty-part-motet/\" target=\"_blank\" rel=\"noopener\">The Forty Part Motet\u003c/a>\u003c/em> at the Fort Mason Center on San Francisco’s waterfront. While an otherwise-featureless room containing nothing but a bunch of faceless speakers pumping out a recording of a 16th century choral music work sounds about as appealing as being forced to attend choir practice when you’re a teenager, Janet Cardiff’s epic sound installation has to be one of the most profound pieces of performance art I’ve ever witnessed.\u003c/p>\n\u003cp>The Canadian artist wanted to find a way to “climb inside” complex music, to hear all the separate parts in a way that isn’t possible when you experience a live concert or regular recording. So she picked on one of the greatest choral works ever created —\u003cem> Spem in Alium\u003c/em>, a sacred motet written for a whopping 40 individual vocal lines by the English Renaissance composer Thomas Tallis around 1570 — and collaborated with the august Salisbury Cathedral Choir in 2000 to record each individual part separately. Visitors to the installation wander around a room in which 40 speakers standing at ear level on skinny tripods arranged in a large oval shape pump out the music. There is one speaker for each vocal line, so you can either stand in the middle of the space and feel the entire piece washing over you. Or you can sidle up to a specific speaker and hear a solitary voice sing their part, and then move on to another voice.\u003c/p>\n\u003cp>And here’s why the work made such an impression on me: In the wake of the appalling terrorist attacks in Paris, Cardiff’s installation gave me an unexpected feeling of sadness and hope. As I listened to the specific voices coming out of the separate speakers, I could hear the unique beauty — and, every now and again, the falterings — of each one. It was as if those impassive noise-emitting cubes suddenly came to life! But then, taking a step back, the individual voices that seemed so pronounced with my ear up to a speaker merged together into a perfect, seamless whole. All I could think as I was hit by Tallis’ soaring polyphony was about the power of the collective spirit to come together and overcome challenges and tragedies like the one that unfolded in Paris the other night.\u003c/p>\n\u003cp>The \u003cem>Forty Part Motet\u003c/em> is just one of the many performing arts events going on in the Bay Area this week. Here are a few more that caught my eye:\u003c/p>\n\u003cfigure id=\"attachment_11104899\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11104899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg\" alt=\"'Una noche tropical' at Dance Mission Theater\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Una Noche Tropical’ at Dance Mission Theater \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Saturday, Dec. 5: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">Explosión Cubana: Una Noche Tropical\u003c/a> \u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nCuba is changing fast. With Netflix and AirB&B already doing business with the until-recently-contraband Caribbean island and a gazillion U.S. tourists on the verge of a stampede, it might not be too long before the popular idea of Cuba as a run-down, rum-soaked paradise of hot nightclubs and cool vintage cars might become divorced from reality. CubaCaribe and Dance Mission Theater intend to keep the popular idea real with their joint effort to evoke the cigar-smoke-spirit of Havana’s famous Tropicana nightclub right in the heart of The Mission. The cabaret-style soiree explores the evolution of Cuban music and dance with the help of members of the Alayo Dance Company, headed by CubaCaribe artistic director Ramon Ramos Alayo, and live music from Patricio Angulo. Dinner is part of the show too, with Cubano delicacies like pork, plantains and yuca — all fried, best washed down with mojitos — on the menu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: \u003ca href=\"http://www.punchlinecomedyclub.com/events/eventdetail/?viewNav=/eventdetail&eventId=1C004F3DCE043093&oid=18510\" target=\"_blank\" rel=\"noopener\">Al Madrigal\u003c/a> at Punchline Comedy Club, San Francisco\u003c/strong>\u003cbr>\nComedian, actor and San Francisco native Al Madrigal started out doing standup in local clubs before taking his wry brand of social satire to primetime TV, appearing as a regular on \u003cem>The Daily Show\u003c/em> and NBC’s \u003cem>About a Boy\u003c/em> with David Walton and Minnie Driver, among other fare. A comedian obsessed with his roots — Madrigal is of Mexican and Sicilian extraction and devoted his recently-released one hour documentary \u003cem>Half Like Me\u003c/em> to exploring his Latino heritage — the comic now returns home to San Francisco for a live recording of his new album. It’ll be an intimate affair: The Punchline, one of the city’s longest running comedy clubs, has less than 200 seats.\u003c/p>\n\u003cfigure id=\"attachment_11104562\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\" alt=\"A scene from 'Sunlight' by Sharr White at Dragon Theatre\" width=\"744\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-672x372.jpg 672w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sunlight’ by Sharr White at Dragon Theatre \u003ccite>(Photo: Kimberly Wadycki/Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec 13: \u003cem>\u003ca href=\"http://dragonproductions.net/box-office/2015tickets/sunlight.html\" target=\"_blank\" rel=\"noopener\">Sunlight\u003c/a>\u003c/em> at Dragon Theatre Company, Redwood City\u003c/strong>\u003cbr>\nLike Al Madrigal, American playwright Sharr White likes to return to his Bay Area roots every once in awhile. The San Francisco State and American Conservatory Theater grad launched his career here before his dramas \u003cem>The Other Place\u003c/em> and \u003cem>The Snow Geese\u003c/em> hit Broadway. But White continues his allegiance to Bay Area stages, premiering his plays \u003cem>Annapurna\u003c/em> and \u003cem>Sunlight\u003c/em> at The Magic Theatre and Marin Theatre Company respectively in recent years. \u003cem>Sunlight\u003c/em>, White’s 2010 drama exploring terrorism and its impact on civilians, is getting a new production right now with Redwood City’s feisty Dragon Theatre Company. The group has produced a couple of the White’s works in the past. In the wake of the Paris attacks a couple of weeks ago, this drama about the turmoil that arises on a university campus over a memo from a faculty member justifying the use of torture, couldn’t be more timely.\u003c/p>\n\u003cfigure id=\"attachment_11104558\" class=\"wp-caption alignright\" style=\"max-width: 557px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\" alt=\"A scene from Ayad Akhtar’s 'Disgraced' at Berkeley Rep.\" width=\"557\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg 557w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821-400x221.jpg 400w\" sizes=\"(max-width: 557px) 100vw, 557px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Ayad Akhtar’s ‘Disgraced’ at Berkeley Rep. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Disgraced\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003c/strong>\u003cbr>\nPakistani-American playwright Ayad Akhtar’s Pulitzer Prize-winning 2013 play \u003cem>Disgraced\u003c/em> takes a different look at life in our post 9/11 world. The polished Berkeley Rep production directed by Kimberly Senior (who helmed the impactful play on its journey from Chicago to London’s West West End and on to Broadway before mounting this west coast premiere) deftly captures the story of a high-powered New York lawyer’s complex relationship with his Islamic roots. Exploring the challenges of Muslim identity in the United States today, Akhtar shatters assumptions about religion and race as he keenly exposes the lies and deceit embedded deep within his protagonist’s psyche. \u003cem>Read KQED’s interview with the playwright \u003ca href=\"http://ww2.kqed.org/arts/2015/11/21/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">The Dickens Fair\u003c/a> at Cow Palace, San Francisco\u003c/strong>\u003cbr>\nChristmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\u003c/p>\n\n",
"blocks": [],
"excerpt": "This week our critic's performing arts picks also include a celebration of Cuban culture, plays about terrorism and Islamic identity and the annual Dickens Fair.",
"status": "publish",
"parent": 0,
"modified": 1726771137,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 1267
},
"headData": {
"title": "Show Me Yours: 'The Forty Part Motet', Al Madrigal, and more | KQED",
"description": "This week our critic's performing arts picks also include a celebration of Cuban culture, plays about terrorism and Islamic identity and the annual Dickens Fair.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Show Me Yours: 'The Forty Part Motet', Al Madrigal, and more",
"datePublished": "2015-11-24T12:00:47-08:00",
"dateModified": "2024-09-19T11:38:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11104332/show-me-yours-the-forty-part-motet-al-madrigal-and-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s one thing you shouldn’t pass up this holiday season, it’s the opportunity to experience \u003cem>\u003ca href=\"http://fortmason.org/event/forty-part-motet/\" target=\"_blank\" rel=\"noopener\">The Forty Part Motet\u003c/a>\u003c/em> at the Fort Mason Center on San Francisco’s waterfront. While an otherwise-featureless room containing nothing but a bunch of faceless speakers pumping out a recording of a 16th century choral music work sounds about as appealing as being forced to attend choir practice when you’re a teenager, Janet Cardiff’s epic sound installation has to be one of the most profound pieces of performance art I’ve ever witnessed.\u003c/p>\n\u003cp>The Canadian artist wanted to find a way to “climb inside” complex music, to hear all the separate parts in a way that isn’t possible when you experience a live concert or regular recording. So she picked on one of the greatest choral works ever created —\u003cem> Spem in Alium\u003c/em>, a sacred motet written for a whopping 40 individual vocal lines by the English Renaissance composer Thomas Tallis around 1570 — and collaborated with the august Salisbury Cathedral Choir in 2000 to record each individual part separately. Visitors to the installation wander around a room in which 40 speakers standing at ear level on skinny tripods arranged in a large oval shape pump out the music. There is one speaker for each vocal line, so you can either stand in the middle of the space and feel the entire piece washing over you. Or you can sidle up to a specific speaker and hear a solitary voice sing their part, and then move on to another voice.\u003c/p>\n\u003cp>And here’s why the work made such an impression on me: In the wake of the appalling terrorist attacks in Paris, Cardiff’s installation gave me an unexpected feeling of sadness and hope. As I listened to the specific voices coming out of the separate speakers, I could hear the unique beauty — and, every now and again, the falterings — of each one. It was as if those impassive noise-emitting cubes suddenly came to life! But then, taking a step back, the individual voices that seemed so pronounced with my ear up to a speaker merged together into a perfect, seamless whole. All I could think as I was hit by Tallis’ soaring polyphony was about the power of the collective spirit to come together and overcome challenges and tragedies like the one that unfolded in Paris the other night.\u003c/p>\n\u003cp>The \u003cem>Forty Part Motet\u003c/em> is just one of the many performing arts events going on in the Bay Area this week. Here are a few more that caught my eye:\u003c/p>\n\u003cfigure id=\"attachment_11104899\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11104899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg\" alt=\"'Una noche tropical' at Dance Mission Theater\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Una Noche Tropical’ at Dance Mission Theater \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Saturday, Dec. 5: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">Explosión Cubana: Una Noche Tropical\u003c/a> \u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nCuba is changing fast. With Netflix and AirB&B already doing business with the until-recently-contraband Caribbean island and a gazillion U.S. tourists on the verge of a stampede, it might not be too long before the popular idea of Cuba as a run-down, rum-soaked paradise of hot nightclubs and cool vintage cars might become divorced from reality. CubaCaribe and Dance Mission Theater intend to keep the popular idea real with their joint effort to evoke the cigar-smoke-spirit of Havana’s famous Tropicana nightclub right in the heart of The Mission. The cabaret-style soiree explores the evolution of Cuban music and dance with the help of members of the Alayo Dance Company, headed by CubaCaribe artistic director Ramon Ramos Alayo, and live music from Patricio Angulo. Dinner is part of the show too, with Cubano delicacies like pork, plantains and yuca — all fried, best washed down with mojitos — on the menu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: \u003ca href=\"http://www.punchlinecomedyclub.com/events/eventdetail/?viewNav=/eventdetail&eventId=1C004F3DCE043093&oid=18510\" target=\"_blank\" rel=\"noopener\">Al Madrigal\u003c/a> at Punchline Comedy Club, San Francisco\u003c/strong>\u003cbr>\nComedian, actor and San Francisco native Al Madrigal started out doing standup in local clubs before taking his wry brand of social satire to primetime TV, appearing as a regular on \u003cem>The Daily Show\u003c/em> and NBC’s \u003cem>About a Boy\u003c/em> with David Walton and Minnie Driver, among other fare. A comedian obsessed with his roots — Madrigal is of Mexican and Sicilian extraction and devoted his recently-released one hour documentary \u003cem>Half Like Me\u003c/em> to exploring his Latino heritage — the comic now returns home to San Francisco for a live recording of his new album. It’ll be an intimate affair: The Punchline, one of the city’s longest running comedy clubs, has less than 200 seats.\u003c/p>\n\u003cfigure id=\"attachment_11104562\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\" alt=\"A scene from 'Sunlight' by Sharr White at Dragon Theatre\" width=\"744\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-672x372.jpg 672w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sunlight’ by Sharr White at Dragon Theatre \u003ccite>(Photo: Kimberly Wadycki/Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec 13: \u003cem>\u003ca href=\"http://dragonproductions.net/box-office/2015tickets/sunlight.html\" target=\"_blank\" rel=\"noopener\">Sunlight\u003c/a>\u003c/em> at Dragon Theatre Company, Redwood City\u003c/strong>\u003cbr>\nLike Al Madrigal, American playwright Sharr White likes to return to his Bay Area roots every once in awhile. The San Francisco State and American Conservatory Theater grad launched his career here before his dramas \u003cem>The Other Place\u003c/em> and \u003cem>The Snow Geese\u003c/em> hit Broadway. But White continues his allegiance to Bay Area stages, premiering his plays \u003cem>Annapurna\u003c/em> and \u003cem>Sunlight\u003c/em> at The Magic Theatre and Marin Theatre Company respectively in recent years. \u003cem>Sunlight\u003c/em>, White’s 2010 drama exploring terrorism and its impact on civilians, is getting a new production right now with Redwood City’s feisty Dragon Theatre Company. The group has produced a couple of the White’s works in the past. In the wake of the Paris attacks a couple of weeks ago, this drama about the turmoil that arises on a university campus over a memo from a faculty member justifying the use of torture, couldn’t be more timely.\u003c/p>\n\u003cfigure id=\"attachment_11104558\" class=\"wp-caption alignright\" style=\"max-width: 557px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\" alt=\"A scene from Ayad Akhtar’s 'Disgraced' at Berkeley Rep.\" width=\"557\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg 557w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821-400x221.jpg 400w\" sizes=\"(max-width: 557px) 100vw, 557px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Ayad Akhtar’s ‘Disgraced’ at Berkeley Rep. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Disgraced\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003c/strong>\u003cbr>\nPakistani-American playwright Ayad Akhtar’s Pulitzer Prize-winning 2013 play \u003cem>Disgraced\u003c/em> takes a different look at life in our post 9/11 world. The polished Berkeley Rep production directed by Kimberly Senior (who helmed the impactful play on its journey from Chicago to London’s West West End and on to Broadway before mounting this west coast premiere) deftly captures the story of a high-powered New York lawyer’s complex relationship with his Islamic roots. Exploring the challenges of Muslim identity in the United States today, Akhtar shatters assumptions about religion and race as he keenly exposes the lies and deceit embedded deep within his protagonist’s psyche. \u003cem>Read KQED’s interview with the playwright \u003ca href=\"http://ww2.kqed.org/arts/2015/11/21/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">The Dickens Fair\u003c/a> at Cow Palace, San Francisco\u003c/strong>\u003cbr>\nChristmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11104332/show-me-yours-the-forty-part-motet-al-madrigal-and-more",
"authors": [
"8608"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_966",
"arts_235",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11104902",
"label": "arts_140"
},
"arts_11097055": {
"type": "posts",
"id": "arts_11097055",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11097055",
"score": null,
"sort": [
1448121642000
]
},
"guestAuthors": [],
"slug": "pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism",
"title": "Pulitzer Prize Winning Playwright on Islamophobia and Religious Extremism",
"publishDate": 1448121642,
"format": "standard",
"headTitle": "Pulitzer Prize Winning Playwright on Islamophobia and Religious Extremism | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It was both the best and the worst of timing, as \u003ca href=\"http://ayadakhtar.com/\" target=\"_blank\" rel=\"noopener\">Ayad Akhtar\u003c/a>’s play \u003ca href=\"http://www.berkeleyrep.org/press/presskit-1516di.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Disgraced\u003c/em> \u003c/a>opened on Nov. 13. The world was riveted that afternoon by the attacks on Paris, and then a packed house watched this play that seemed to be about the issues behind the attacks and the world’s reaction: Islamophobia, religious extremism, cultural appropriation, intermarriage, anti-semitism, and the breakdown of dialogue across cultures\u003c/p>\n\u003cp>As the applause died down, the cast stood on stage, holding hands, with their heads bowed in silence for a long moment for the those who died in Paris.\u003c/p>\n\u003cp>KQED talked with Akhtar a few weeks ago about \u003cem>Disgraced,\u003c/em> which won a Pulitzer Prize in 2013. Akhtar is a Pakistani-American novelist (\u003cem>American Dervish\u003c/em>), playwright (\u003cem>Disgraced\u003c/em> and \u003cem>\u003ca href=\"http://www.lajollaplayhouse.org/the-who-the-what\" target=\"_blank\" rel=\"noopener\">The Who and the What\u003c/a>\u003c/em>), screenwriter and actor (\u003cem>\u003ca href=\"http://www.warwithinmovie.com/\" target=\"_blank\" rel=\"noopener\">The War Within\u003c/a>\u003c/em>), born in New York, and raised near Milwaukee, Wisconsin.\u003c/p>\n\u003cp>\u003cstrong>Tell me about Amir Kapoor, the Muslim-American and corporate attorney at the center of\u003cem> Disgraced\u003c/em>. He’s maneuvering for a partnership at a law firm in NYC. \u003c/strong>\u003c/p>\n\u003cp>He wouldn’t see himself as a Muslim, and unfortunately in a post 9/11 world, that’s not a nuance that exists. You can’t say, “I was brought up Muslim, but I’m not Muslim.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But I think that Amir sees himself as an upwardly mobile young urban professional, and I think he’s trying to partake of the old paradigm, of American renewal of the self in the new world, but he is prevented from that in the truculent cultural environment of post 9/11 America.\u003c/p>\n\u003cp>\u003cstrong>The characters in \u003cem>Disgraced\u003c/em> debate the merits of the Quran. And Amir, the lapsed Muslim, calls it “a very long hate mail letter” to humanity. What’s your opinion?\u003c/strong>\u003c/p>\n\u003cp>What Amir says in the play is what Amir says. William Faulkner once said, something like, all I do is follow my characters around and write down what they say. Everybody in the play is saying stuff. There’s a lot of people saying nice things about the Quran. I also listened to them and wrote down what they said.\u003c/p>\n\u003cp>I think any religious text worth its salt, is probably grappling with the great dualities of human nature. Both our capacity for extraordinary generosity, good and sublimity, and our capacity for great harm, evil and menace. The Quran is no exception. Neither is the Old Testament, and neither is the Bhagavad Gita. And I think Amir has latched on to some aspect of the Quran, which, yeah, there’s a lot of anger in it.\u003c/p>\n\u003cp>But I think the Islamic God, Allah, would say there’s a lot of good reasons to be angry with the state of humanity.\u003c/p>\n\u003cp>\u003cstrong>Amir describes his approach to traveling by air, where he embraces the suspicion that comes with his dark skin and Muslim name. He says he walks up to TSA agents at the airport and insists they pat him down and search his bags. You’re not Amir, but what is flying like for you?\u003c/strong>\u003c/p>\n\u003cp>My experience is not Amir’s experience. I don’t willfully challenge the unconscious racial prejudices of TSA agents. I am a pretty low key guy, usually wearing a baseball cap, and don’t seem to have any problems.\u003c/p>\n\u003cp>But most of my friends who are of Pakistani or Indian origin are regularly detained for many hours every time they pass through JFK.\u003c/p>\n\u003cp>\u003cstrong>In the play there seem to be these unbridgeable divisions between white-protestant Americans, Jewish American, African Americans, and Muslim-Americans. Is it really that hopeless?\u003c/strong>\u003c/p>\n\u003cp>I think that President Obama’s presidency has certainly brought more attention to the bugs underneath the structure of our so-called multicultural, post-racial nation. I think the recent Ta-Nehisi Coates book \u003cem>Between the World and Me\u003c/em> (about racial injustice), is a very rational, truthful depiction of American history.\u003c/p>\n\u003cp>We like to tell ourselves about how great we are, and how tolerant we are. And I think probably what defines our greatness, if we have any, is our capacity to look at ourselves with greater clarity. So I think I think it’s good that there are works like \u003cem>Disgraced\u003c/em> and the Coates book telling people that’s a lot of hooey.\u003c/p>\n\u003cp>\u003cstrong>You sound despairing.\u003c/strong>\u003c/p>\n\u003cp>The only hope for humanity, as far as I’m concerned, is self-knowledge. So I don’t know why it’s depressing to be told we have to work on ourselves. I think some people come to a work of art hoping that that it will somehow solve the tensions of the social order. I don’t think that’s the purpose of art as I see it.\u003c/p>\n\u003cp>I used to have a teacher in high school who would say, “The purpose of art is to raise questions.” And I thought “I don’t care about questions.” But as I get older, I think that’s the only thing that’s interesting. I’m not going to give the audience some redemptive story about the eternal hopefulness of our lives.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Disgraced\u003c/em> won the Pulitzer and 30 theaters are doing the show around the country. Why do you think it’s being embraced so widely?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2013/legit/news/drama-pulitzer-story-winner-tk-1200369753/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em> did a wonderful piece about the Pulitzer\u003c/a> after\u003cem> Disgraced\u003c/em> won, and asked, “What does a Pulitzer get you?” It’s $10,000. You’re going to blow that in three or four months. It doesn’t necessarily mean that your play is going to make any money. I guess all it means is it gets you an obituary in the \u003cem>New York Times\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>So why has the play had such an impact?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. My experience of the play is that people find themselves surprisingly engaged, moved and confused by it. And I think that its dealing with stuff that’s going on in the world today that doesn’t usually lend itself to an engaging narrative experience.\u003c/p>\n\u003cp>There’s a lot of ideas in the play, but it’s not a play of ideas. There are a lot of jokes here, and intrigue. It’s actually a melodrama-slash-thriller-slash-agitprop-slash-domestic tragedy.\u003c/p>\n\u003cp>\u003cstrong>You’re the son of doctors and grew up outside Milwaukee, Wisconsin. So how did you growing up in the mid-west shape your identity and your writing?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the case of \u003cem>Disgraced\u003c/em>, a lot of people think I’m Amir. But I’m all of those characters. The writers who affected me the most in my late childhood were the great Jewish-American writers Philip Roth and Saul Bellow, and Chaim Potok, and then later: Woody Allen, (Jerry) Seinfeld, Larry David. And those guys taught me how to think about my own work.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Playwright Ayad Akhtar's 'Disgraced' asks how do we get along in a post 9/11 world.",
"status": "publish",
"parent": 0,
"modified": 1726788328,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 28,
"wordCount": 1180
},
"headData": {
"title": "Pulitzer Prize Winning Playwright on Islamophobia and Religious Extremism | KQED",
"description": "Playwright Ayad Akhtar's 'Disgraced' asks how do we get along in a post 9/11 world.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Pulitzer Prize Winning Playwright on Islamophobia and Religious Extremism",
"datePublished": "2015-11-21T08:00:42-08:00",
"dateModified": "2024-09-19T16:25:28-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11097055/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was both the best and the worst of timing, as \u003ca href=\"http://ayadakhtar.com/\" target=\"_blank\" rel=\"noopener\">Ayad Akhtar\u003c/a>’s play \u003ca href=\"http://www.berkeleyrep.org/press/presskit-1516di.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Disgraced\u003c/em> \u003c/a>opened on Nov. 13. The world was riveted that afternoon by the attacks on Paris, and then a packed house watched this play that seemed to be about the issues behind the attacks and the world’s reaction: Islamophobia, religious extremism, cultural appropriation, intermarriage, anti-semitism, and the breakdown of dialogue across cultures\u003c/p>\n\u003cp>As the applause died down, the cast stood on stage, holding hands, with their heads bowed in silence for a long moment for the those who died in Paris.\u003c/p>\n\u003cp>KQED talked with Akhtar a few weeks ago about \u003cem>Disgraced,\u003c/em> which won a Pulitzer Prize in 2013. Akhtar is a Pakistani-American novelist (\u003cem>American Dervish\u003c/em>), playwright (\u003cem>Disgraced\u003c/em> and \u003cem>\u003ca href=\"http://www.lajollaplayhouse.org/the-who-the-what\" target=\"_blank\" rel=\"noopener\">The Who and the What\u003c/a>\u003c/em>), screenwriter and actor (\u003cem>\u003ca href=\"http://www.warwithinmovie.com/\" target=\"_blank\" rel=\"noopener\">The War Within\u003c/a>\u003c/em>), born in New York, and raised near Milwaukee, Wisconsin.\u003c/p>\n\u003cp>\u003cstrong>Tell me about Amir Kapoor, the Muslim-American and corporate attorney at the center of\u003cem> Disgraced\u003c/em>. He’s maneuvering for a partnership at a law firm in NYC. \u003c/strong>\u003c/p>\n\u003cp>He wouldn’t see himself as a Muslim, and unfortunately in a post 9/11 world, that’s not a nuance that exists. You can’t say, “I was brought up Muslim, but I’m not Muslim.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I think that Amir sees himself as an upwardly mobile young urban professional, and I think he’s trying to partake of the old paradigm, of American renewal of the self in the new world, but he is prevented from that in the truculent cultural environment of post 9/11 America.\u003c/p>\n\u003cp>\u003cstrong>The characters in \u003cem>Disgraced\u003c/em> debate the merits of the Quran. And Amir, the lapsed Muslim, calls it “a very long hate mail letter” to humanity. What’s your opinion?\u003c/strong>\u003c/p>\n\u003cp>What Amir says in the play is what Amir says. William Faulkner once said, something like, all I do is follow my characters around and write down what they say. Everybody in the play is saying stuff. There’s a lot of people saying nice things about the Quran. I also listened to them and wrote down what they said.\u003c/p>\n\u003cp>I think any religious text worth its salt, is probably grappling with the great dualities of human nature. Both our capacity for extraordinary generosity, good and sublimity, and our capacity for great harm, evil and menace. The Quran is no exception. Neither is the Old Testament, and neither is the Bhagavad Gita. And I think Amir has latched on to some aspect of the Quran, which, yeah, there’s a lot of anger in it.\u003c/p>\n\u003cp>But I think the Islamic God, Allah, would say there’s a lot of good reasons to be angry with the state of humanity.\u003c/p>\n\u003cp>\u003cstrong>Amir describes his approach to traveling by air, where he embraces the suspicion that comes with his dark skin and Muslim name. He says he walks up to TSA agents at the airport and insists they pat him down and search his bags. You’re not Amir, but what is flying like for you?\u003c/strong>\u003c/p>\n\u003cp>My experience is not Amir’s experience. I don’t willfully challenge the unconscious racial prejudices of TSA agents. I am a pretty low key guy, usually wearing a baseball cap, and don’t seem to have any problems.\u003c/p>\n\u003cp>But most of my friends who are of Pakistani or Indian origin are regularly detained for many hours every time they pass through JFK.\u003c/p>\n\u003cp>\u003cstrong>In the play there seem to be these unbridgeable divisions between white-protestant Americans, Jewish American, African Americans, and Muslim-Americans. Is it really that hopeless?\u003c/strong>\u003c/p>\n\u003cp>I think that President Obama’s presidency has certainly brought more attention to the bugs underneath the structure of our so-called multicultural, post-racial nation. I think the recent Ta-Nehisi Coates book \u003cem>Between the World and Me\u003c/em> (about racial injustice), is a very rational, truthful depiction of American history.\u003c/p>\n\u003cp>We like to tell ourselves about how great we are, and how tolerant we are. And I think probably what defines our greatness, if we have any, is our capacity to look at ourselves with greater clarity. So I think I think it’s good that there are works like \u003cem>Disgraced\u003c/em> and the Coates book telling people that’s a lot of hooey.\u003c/p>\n\u003cp>\u003cstrong>You sound despairing.\u003c/strong>\u003c/p>\n\u003cp>The only hope for humanity, as far as I’m concerned, is self-knowledge. So I don’t know why it’s depressing to be told we have to work on ourselves. I think some people come to a work of art hoping that that it will somehow solve the tensions of the social order. I don’t think that’s the purpose of art as I see it.\u003c/p>\n\u003cp>I used to have a teacher in high school who would say, “The purpose of art is to raise questions.” And I thought “I don’t care about questions.” But as I get older, I think that’s the only thing that’s interesting. I’m not going to give the audience some redemptive story about the eternal hopefulness of our lives.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Disgraced\u003c/em> won the Pulitzer and 30 theaters are doing the show around the country. Why do you think it’s being embraced so widely?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2013/legit/news/drama-pulitzer-story-winner-tk-1200369753/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em> did a wonderful piece about the Pulitzer\u003c/a> after\u003cem> Disgraced\u003c/em> won, and asked, “What does a Pulitzer get you?” It’s $10,000. You’re going to blow that in three or four months. It doesn’t necessarily mean that your play is going to make any money. I guess all it means is it gets you an obituary in the \u003cem>New York Times\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>So why has the play had such an impact?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. My experience of the play is that people find themselves surprisingly engaged, moved and confused by it. And I think that its dealing with stuff that’s going on in the world today that doesn’t usually lend itself to an engaging narrative experience.\u003c/p>\n\u003cp>There’s a lot of ideas in the play, but it’s not a play of ideas. There are a lot of jokes here, and intrigue. It’s actually a melodrama-slash-thriller-slash-agitprop-slash-domestic tragedy.\u003c/p>\n\u003cp>\u003cstrong>You’re the son of doctors and grew up outside Milwaukee, Wisconsin. So how did you growing up in the mid-west shape your identity and your writing?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the case of \u003cem>Disgraced\u003c/em>, a lot of people think I’m Amir. But I’m all of those characters. The writers who affected me the most in my late childhood were the great Jewish-American writers Philip Roth and Saul Bellow, and Chaim Potok, and then later: Woody Allen, (Jerry) Seinfeld, Larry David. And those guys taught me how to think about my own work.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11097055/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism",
"authors": [
"32"
],
"categories": [
"arts_1",
"arts_235",
"arts_967"
],
"tags": [
"arts_596",
"arts_989"
],
"featImg": "arts_11094198",
"label": "arts"
},
"arts_11094088": {
"type": "posts",
"id": "arts_11094088",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11094088",
"score": null,
"sort": [
1447988400000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-lucero-body-music-disgraced-and-more",
"title": "Cy and David's Picks: Lucero, Body Music, 'Disgraced,' and More",
"publishDate": 1447988400,
"format": "audio",
"headTitle": "Cy and David’s Picks: Lucero, Body Music, ‘Disgraced,’ and More | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>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/2015/11/20151120tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Friday, Nov. 20:\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Lucero\u003c/a> at the Fillmore. \u003c/strong>With a voice made by whiskey and cigarettes, Ben Nichols is one of the pioneers of country-punk. The band’s new album is full of heartache –plus a cover of Big Star’s “I’m In Love With a Girl.”\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Francesca Blanchard\u003c/a> (opening for Yuna) at Slim’s. \u003c/strong>This bilingual singer hails from southern France, Ethiopia, and more lately Vermont — and plenty of international influences find their way into her songs, which are helped by a Norah Jones-esque voice. She opens for the Malaysian-born Yuna. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U_7vVffjIzM\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">The International Body Music MiniFest \u003c/a>at Freight & Salvage Coffeehouse. \u003c/strong>The Bay Area’s own body rhythm king, Keith Terry, has organized a festival of music made with the body alone, featuring classes for kids and adults. Performers include Molodi Live, a stepping group from Las Vegas; and the Zapateado group Cascada de Flores. \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Saturday, Nov. 21 (through Dec. 6): \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">The SF Opera Presents ‘Die Meistersinger Von Nurnberg.’ \u003c/a>\u003c/strong>Tenor Brandon Jovanovich plays the lead in Wagner’s only comedy — one that takes five hours to perform. \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11094198\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11094198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg\" alt=\"Ayad Akhtar\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar \u003ccite>( Photo: Nina Subin/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 27: \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">‘Disgraced’\u003c/a> at the Berkeley Repertory Theater. \u003c/strong>Ayad Akhtar’s Pulitzer Prize-winning play tackles Islamophobia, anti-Semitism, cultural appropriation, intermarriage…and how nasty New York lawyers can be. Each performance is followed by a talkback with the cast and staff of the Berkeley Rep. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>David:\u003c/strong> Tim Flannery, former third base coach for the San Francisco Giants, plays the Freight and Salvage this Sunday, Nov. 22 with his band the Lunatic Fringe. \u003ca href=\"http://www.thefreight.org/tim-flannery-lunatic-fringe-special-guests-berkley-hart\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cy:\u003c/strong> And I’m shouting it out for ‘Salvage’ — a little punk circus show at Kinetic Arts in West Oakland with exceptional acrobatics and clowning that runs through Dec. 20. \u003ca href=\"http://www.kineticartscenter.com/salvage/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"status": "publish",
"parent": 0,
"modified": 1726771142,
"stats": {
"hasAudio": true,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 387
},
"headData": {
"title": "Cy and David's Picks: Lucero, Body Music, 'Disgraced,' and More | KQED",
"description": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: Lucero, Body Music, 'Disgraced,' and More",
"datePublished": "2015-11-19T19:00:00-08:00",
"dateModified": "2024-09-19T11:39:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11094088/cy-and-davids-picks-lucero-body-music-disgraced-and-more",
"audioUrl": "http://www.kqed.org/.stream/anon/radio/thedolist/2015/11/20151120tdl.mp3",
"audioDuration": null,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audioLink",
"attributes": {
"named": {
"src": "http://www.kqed.org/.stream/anon/radio/thedolist/2015/11/20151120tdl.mp3"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Friday, Nov. 20:\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Lucero\u003c/a> at the Fillmore. \u003c/strong>With a voice made by whiskey and cigarettes, Ben Nichols is one of the pioneers of country-punk. The band’s new album is full of heartache –plus a cover of Big Star’s “I’m In Love With a Girl.”\u003ca href=\"http://thefillmore.com/event/lucero/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Francesca Blanchard\u003c/a> (opening for Yuna) at Slim’s. \u003c/strong>This bilingual singer hails from southern France, Ethiopia, and more lately Vermont — and plenty of international influences find their way into her songs, which are helped by a Norah Jones-esque voice. She opens for the Malaysian-born Yuna. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12338\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U_7vVffjIzM'\n title='//www.youtube.com/embed/U_7vVffjIzM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">The International Body Music MiniFest \u003c/a>at Freight & Salvage Coffeehouse. \u003c/strong>The Bay Area’s own body rhythm king, Keith Terry, has organized a festival of music made with the body alone, featuring classes for kids and adults. Performers include Molodi Live, a stepping group from Las Vegas; and the Zapateado group Cascada de Flores. \u003ca href=\"http://www.thefreight.org/international-body-music-minifest\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Saturday, Nov. 21 (through Dec. 6): \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">The SF Opera Presents ‘Die Meistersinger Von Nurnberg.’ \u003c/a>\u003c/strong>Tenor Brandon Jovanovich plays the lead in Wagner’s only comedy — one that takes five hours to perform. \u003ca href=\"http://sfopera.com/discover-opera/1516-season/die-meistersinger-von-nurnberg/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11094198\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11094198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg\" alt=\"Ayad Akhtar\" width=\"400\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-400x199.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-800x399.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-1180x588.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Berkeley_Rep_Akhtar-e1440805470734-1920x957-960x479.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayad Akhtar \u003ccite>( Photo: Nina Subin/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 27: \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">‘Disgraced’\u003c/a> at the Berkeley Repertory Theater. \u003c/strong>Ayad Akhtar’s Pulitzer Prize-winning play tackles Islamophobia, anti-Semitism, cultural appropriation, intermarriage…and how nasty New York lawyers can be. Each performance is followed by a talkback with the cast and staff of the Berkeley Rep. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>David:\u003c/strong> Tim Flannery, former third base coach for the San Francisco Giants, plays the Freight and Salvage this Sunday, Nov. 22 with his band the Lunatic Fringe. \u003ca href=\"http://www.thefreight.org/tim-flannery-lunatic-fringe-special-guests-berkley-hart\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cy:\u003c/strong> And I’m shouting it out for ‘Salvage’ — a little punk circus show at Kinetic Arts in West Oakland with exceptional acrobatics and clowning that runs through Dec. 20. \u003ca href=\"http://www.kineticartscenter.com/salvage/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11094088/cy-and-davids-picks-lucero-body-music-disgraced-and-more",
"authors": [
"3215"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_626"
],
"featImg": "arts_11094297",
"label": "arts_140"
},
"arts_11089216": {
"type": "posts",
"id": "arts_11089216",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11089216",
"score": null,
"sort": [
1447792119000
]
},
"guestAuthors": [],
"slug": "sf-opera-previews-its-new-intimate-performance-space",
"title": "SF Opera Previews its New Intimate Performance Space",
"publishDate": 1447792119,
"format": "standard",
"headTitle": "SF Opera Previews its New Intimate Performance Space | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The San Francisco Opera hopes to entice adventurous audiences to its new intimate theater. ",
"status": "publish",
"parent": 0,
"modified": 1726763978,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 486
},
"headData": {
"title": "SF Opera Previews its New Intimate Performance Space | KQED",
"description": "The San Francisco Opera hopes to entice adventurous audiences to its new intimate theater. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SF Opera Previews its New Intimate Performance Space",
"datePublished": "2015-11-17T12:28:39-08:00",
"dateModified": "2024-09-19T09:39:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11089216/sf-opera-previews-its-new-intimate-performance-space",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11089216/sf-opera-previews-its-new-intimate-performance-space",
"authors": [
"32"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_1254",
"arts_596"
],
"featImg": "arts_11089221",
"label": "arts"
},
"arts_11084011": {
"type": "posts",
"id": "arts_11084011",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11084011",
"score": null,
"sort": [
1447776026000
]
},
"guestAuthors": [],
"slug": "show-me-yours-resurrecting-lenny-bruce-body-percussion-and-more",
"title": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More",
"publishDate": 1447776026,
"format": "standard",
"headTitle": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>These days, San Francisco’s waterfront is bursting with FitBit wearing-joggers and heated patio seating, so it’s easy to forget that it was once one of the country’s foremost centers of delinquency, dirt and desire. Performance was the chief currency of The Barbary Coast, with its dance halls, jazz clubs, variety shows, and brothels. By the time Carol Doda was plying her trade in the neighborhood, its seedy spirit had cleaned up a bit. Yet San Francisco’s legendary go-go gal still managed to make an artform of striptease and keep the city’s shiny-moneyed veneer in much-needed check. \u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies\" target=\"_blank\" rel=\"noopener\">Doda died a few days ago at the age of 78 \u003c/a>— and the outpouring of love from fans and friends serves as a reminder that as fast as the Bay Area changes, it still manages somehow to hold onto its soul.\u003c/p>\n\u003cp>This week, Boxcar Theater announced that it will be re-launching The Speakeasy, right in the heart of Doda’s old stomping grounds. Part gambling den, part dive bar serviced by actors in fedoras and spats, the immersive show (which had a successful five-month run until it closed in June last year) throws audiences into the world of a Prohibition-era saloon. The company broke ground on a new site at 664 Broadway last Friday. When The Speakeasy launches an open-ended run in 2016, it’ll help to conjure that Barbary Coast feeling again.\u003c/p>\n\u003cp>Speaking of artists working hard to help the Bay Area retain its soul, the variety of performing arts events going on this week should disabuse anyone of the idea that the region ever lost it. So strap that FitBit to your wrist and head on out.\u003c/p>\n\u003cfigure id=\"attachment_11086732\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11086732 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg\" alt=\"Steve Cuiffo as Lenny Bruce\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1180x645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1920x1049.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-960x524.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steve Cuiffo as Lenny Bruce \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Saturday, Nov. 21: \u003cem>\u003ca href=\"http://sfcurran.com/event/steve-cuiffo-is-lenny-bruce/\" target=\"_blank\" rel=\"noopener\">Steve Cuiffo is Lenny Bruce\u003c/a>\u003c/em> at the Curran Theatre, San Francisco. \u003c/strong>Magician Steve Cuiffo’s latest conjuring act involves bringing Lenny Bruce back from the dead. By all accounts, it’s a successful resurrection: Not only does the slight-framed, dark-haired impersonator resemble the legendary bad boy comedian, but his solo show, in town for three days as part of the Curran Theatre’s feisty “Curran: Under Construction” series, has also been widely praised since Cuiffo first performed the piece in New York in 2011. Back then, Cuiffo reproduced Bruce’s famous 1961 appearance at Carnegie Hall in honor of the august venue’s 150th anniversary. Similarly, the San Francisco run celebrates 54 years since Bruce stepped onto the Curran stage to fascinate and terrify audiences with his no-holds-barred diatribes on sex, drugs, and race.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.internationalbodymusicfestival.com/about.shtml\" target=\"_blank\" rel=\"noopener\">International Body Music MiniFest \u003c/a>at the Freight & Salvage, Berkeley. \u003c/strong>Bay Area artist-educator Keith Terry has invented an unusual approach to teaching kids math: through moving their bootys. He inspires students to clap, slap and dance their way through the largely static business of learning their addition, fractions and multiplication tables. Terry’s “Rhythm of Math” system is part of a one-day jamboree dedicated to the art of body percussion that includes all day public workshops as well as an evening performance. On the roster are a slew of body music aficionados headlined by Molodi, a Las Vegas-based street dance troupe. Practitioners of Mexican zapateado (a form of rhythmic movement akin to tap) and North and South Indian Kathak and Konnakkol dance round out the chest-thumping, foot-stomping program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20 – Sunday, Nov. 22: \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco International Hip-Hop DanceFest \u003c/a>at the Palace of Fine Arts, San Francisco. \u003c/strong>For 17 years, the formidable San Francisco International Hip-Hop DanceFest has helped to put and keep the Bay Area front and center when it comes to street dance in all its many forms. The main reason for this is the longstanding quality and geographic diversity of the offerings, which in 2015 include some of the best groups from countries as far-flung as Japan, Holland, and the UK, as well as troupes from points closer to home like Philly, Memphis, and L.A. Yet it’s the local offerings that so often get people krunking all the way to the Palace of Fine Arts, and this year’s event is no exception. The lineup includes Oakland-based Spulu’s devastating Black vs. Blue, which examines police violence and pays homage to Trayvon Martin, Oscar Grant, Mike Brown, Alex Nieto and Eric Garner in a nod to the Black Lives Matter movement. It also features Medea Sirkas, a company founded in 1991 in San Francisco’s Fillmore District and have brought their Bay Area hip-hop sensibility to collaborations with the likes of Usher and Justin Bieber.\u003c/p>\n\u003cfigure id=\"attachment_11086745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11086745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg\" alt=\"A scene from 'The Marriage of Figaro' at Opera San Jose\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Marriage of Figaro’ at Opera San Jose \u003ccite>(Photo: Pat Kirk/Opera San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, No. 29: \u003ca href=\"http://www.operasj.org/tickets/2015-2016-season/the-marriage-of-figaro/\" target=\"_blank\" rel=\"noopener\">Opera San Jose presents \u003cem>The Marriage of Figaro\u003c/em>\u003c/a> at The California Theatre, San Jose. \u003c/strong>Mozart’s comic opera has become one of the greatest hits of the genre since it first appeared in Vienna in 1786. The opera tells the coquettish tale of the outmaneuvering of a faithless count by his wily servants and long-suffering wife. The work is packed with show-stopping tunes and good humor, so it’s no wonder that it consistently reigns near the top of the list of the world’s most performed operas. Opera San Jose assembles a lively, talented cast for its production at The California Theatre, including Amina Edris (of the San Francisco Opera’s prestigious Merola opera program) in the role of Susanna and up-and-coming bass-baritone Ben Wager as everyone’s favorite hair stylist, Figaro.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Sunday, Dec. 13: \u003ca href=\"http://www.cavalia.net/en/odysseo#FQbHQ6LfAK1OGXRt.97\" target=\"_blank\" rel=\"noopener\">Cavalia presents \u003cem>Odysseo\u003c/em>\u003c/a> in the big top at AT&T Park, San Francisco. \u003c/strong>I wasn’t expecting to fall for an equestrian circus when I caught Odysseo last year in Denver at the behest of a horse-loving friend. But the sheer scale and spectacle of the thing, with its glossy steeds galloping — they were practically dancing, really — across a stage that morphed with seamless technicolor shimmer from one staggeringly beautiful setting to the next, converted me if only for one evening from a neigh-sayer to the oddball art form’s most passionate fan. The show’s pristinely executed combination of horsemanship and theater is no great shakes on the storytelling front. But that hardly matters when your mind’s reeling at the sight of 65 horses, a three-story mountain and an 80,000-gallon lake.\u003c/p>\n\n",
"blocks": [],
"excerpt": "This week our critic's performing arts picks also include an epic horse circus, a Mozart opera fave and hip-hop dance.",
"status": "publish",
"parent": 0,
"modified": 1726771144,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 1135
},
"headData": {
"title": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More | KQED",
"description": "This week our critic's performing arts picks also include an epic horse circus, a Mozart opera fave and hip-hop dance.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More",
"datePublished": "2015-11-17T08:00:26-08:00",
"dateModified": "2024-09-19T11:39:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11084011/show-me-yours-resurrecting-lenny-bruce-body-percussion-and-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, San Francisco’s waterfront is bursting with FitBit wearing-joggers and heated patio seating, so it’s easy to forget that it was once one of the country’s foremost centers of delinquency, dirt and desire. Performance was the chief currency of The Barbary Coast, with its dance halls, jazz clubs, variety shows, and brothels. By the time Carol Doda was plying her trade in the neighborhood, its seedy spirit had cleaned up a bit. Yet San Francisco’s legendary go-go gal still managed to make an artform of striptease and keep the city’s shiny-moneyed veneer in much-needed check. \u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies\" target=\"_blank\" rel=\"noopener\">Doda died a few days ago at the age of 78 \u003c/a>— and the outpouring of love from fans and friends serves as a reminder that as fast as the Bay Area changes, it still manages somehow to hold onto its soul.\u003c/p>\n\u003cp>This week, Boxcar Theater announced that it will be re-launching The Speakeasy, right in the heart of Doda’s old stomping grounds. Part gambling den, part dive bar serviced by actors in fedoras and spats, the immersive show (which had a successful five-month run until it closed in June last year) throws audiences into the world of a Prohibition-era saloon. The company broke ground on a new site at 664 Broadway last Friday. When The Speakeasy launches an open-ended run in 2016, it’ll help to conjure that Barbary Coast feeling again.\u003c/p>\n\u003cp>Speaking of artists working hard to help the Bay Area retain its soul, the variety of performing arts events going on this week should disabuse anyone of the idea that the region ever lost it. So strap that FitBit to your wrist and head on out.\u003c/p>\n\u003cfigure id=\"attachment_11086732\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11086732 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg\" alt=\"Steve Cuiffo as Lenny Bruce\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1180x645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1920x1049.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-960x524.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steve Cuiffo as Lenny Bruce \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Saturday, Nov. 21: \u003cem>\u003ca href=\"http://sfcurran.com/event/steve-cuiffo-is-lenny-bruce/\" target=\"_blank\" rel=\"noopener\">Steve Cuiffo is Lenny Bruce\u003c/a>\u003c/em> at the Curran Theatre, San Francisco. \u003c/strong>Magician Steve Cuiffo’s latest conjuring act involves bringing Lenny Bruce back from the dead. By all accounts, it’s a successful resurrection: Not only does the slight-framed, dark-haired impersonator resemble the legendary bad boy comedian, but his solo show, in town for three days as part of the Curran Theatre’s feisty “Curran: Under Construction” series, has also been widely praised since Cuiffo first performed the piece in New York in 2011. Back then, Cuiffo reproduced Bruce’s famous 1961 appearance at Carnegie Hall in honor of the august venue’s 150th anniversary. Similarly, the San Francisco run celebrates 54 years since Bruce stepped onto the Curran stage to fascinate and terrify audiences with his no-holds-barred diatribes on sex, drugs, and race.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.internationalbodymusicfestival.com/about.shtml\" target=\"_blank\" rel=\"noopener\">International Body Music MiniFest \u003c/a>at the Freight & Salvage, Berkeley. \u003c/strong>Bay Area artist-educator Keith Terry has invented an unusual approach to teaching kids math: through moving their bootys. He inspires students to clap, slap and dance their way through the largely static business of learning their addition, fractions and multiplication tables. Terry’s “Rhythm of Math” system is part of a one-day jamboree dedicated to the art of body percussion that includes all day public workshops as well as an evening performance. On the roster are a slew of body music aficionados headlined by Molodi, a Las Vegas-based street dance troupe. Practitioners of Mexican zapateado (a form of rhythmic movement akin to tap) and North and South Indian Kathak and Konnakkol dance round out the chest-thumping, foot-stomping program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20 – Sunday, Nov. 22: \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco International Hip-Hop DanceFest \u003c/a>at the Palace of Fine Arts, San Francisco. \u003c/strong>For 17 years, the formidable San Francisco International Hip-Hop DanceFest has helped to put and keep the Bay Area front and center when it comes to street dance in all its many forms. The main reason for this is the longstanding quality and geographic diversity of the offerings, which in 2015 include some of the best groups from countries as far-flung as Japan, Holland, and the UK, as well as troupes from points closer to home like Philly, Memphis, and L.A. Yet it’s the local offerings that so often get people krunking all the way to the Palace of Fine Arts, and this year’s event is no exception. The lineup includes Oakland-based Spulu’s devastating Black vs. Blue, which examines police violence and pays homage to Trayvon Martin, Oscar Grant, Mike Brown, Alex Nieto and Eric Garner in a nod to the Black Lives Matter movement. It also features Medea Sirkas, a company founded in 1991 in San Francisco’s Fillmore District and have brought their Bay Area hip-hop sensibility to collaborations with the likes of Usher and Justin Bieber.\u003c/p>\n\u003cfigure id=\"attachment_11086745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11086745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg\" alt=\"A scene from 'The Marriage of Figaro' at Opera San Jose\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Marriage of Figaro’ at Opera San Jose \u003ccite>(Photo: Pat Kirk/Opera San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, No. 29: \u003ca href=\"http://www.operasj.org/tickets/2015-2016-season/the-marriage-of-figaro/\" target=\"_blank\" rel=\"noopener\">Opera San Jose presents \u003cem>The Marriage of Figaro\u003c/em>\u003c/a> at The California Theatre, San Jose. \u003c/strong>Mozart’s comic opera has become one of the greatest hits of the genre since it first appeared in Vienna in 1786. The opera tells the coquettish tale of the outmaneuvering of a faithless count by his wily servants and long-suffering wife. The work is packed with show-stopping tunes and good humor, so it’s no wonder that it consistently reigns near the top of the list of the world’s most performed operas. Opera San Jose assembles a lively, talented cast for its production at The California Theatre, including Amina Edris (of the San Francisco Opera’s prestigious Merola opera program) in the role of Susanna and up-and-coming bass-baritone Ben Wager as everyone’s favorite hair stylist, Figaro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Sunday, Dec. 13: \u003ca href=\"http://www.cavalia.net/en/odysseo#FQbHQ6LfAK1OGXRt.97\" target=\"_blank\" rel=\"noopener\">Cavalia presents \u003cem>Odysseo\u003c/em>\u003c/a> in the big top at AT&T Park, San Francisco. \u003c/strong>I wasn’t expecting to fall for an equestrian circus when I caught Odysseo last year in Denver at the behest of a horse-loving friend. But the sheer scale and spectacle of the thing, with its glossy steeds galloping — they were practically dancing, really — across a stage that morphed with seamless technicolor shimmer from one staggeringly beautiful setting to the next, converted me if only for one evening from a neigh-sayer to the oddball art form’s most passionate fan. The show’s pristinely executed combination of horsemanship and theater is no great shakes on the storytelling front. But that hardly matters when your mind’s reeling at the sight of 65 horses, a three-story mountain and an 80,000-gallon lake.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11084011/show-me-yours-resurrecting-lenny-bruce-body-percussion-and-more",
"authors": [
"8608"
],
"programs": [
"arts_140"
],
"categories": [
"arts_968",
"arts_966",
"arts_69",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11086737",
"label": "arts_140"
},
"arts_11074111": {
"type": "posts",
"id": "arts_11074111",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11074111",
"score": null,
"sort": [
1447455637000
]
},
"guestAuthors": [],
"slug": "theater-junkie-the-work-of-fools-and-idiots",
"title": "Theater Junkie: Rude Mechs' 'The Method Gun' Hits its Target",
"publishDate": 1447455637,
"format": "standard",
"headTitle": "Theater Junkie: Rude Mechs’ ‘The Method Gun’ Hits its Target | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Many contemporary American plays are overstuffed with needless backstories and baroque explanations of plot. The Rude Mechs’ \u003cem>The Method Gun\u003c/em>, in its quiet way, is a corrective to all that. The members of the Austin-based experimental theater company understand that character is not backstory, that there is no narrative explanation for who a person is and what they might do. Some things remain strange, even when we do them ourselves. And that idea, the why of our actions, haunts every moment of the play.\u003c/p>\n\u003cp>The conceit is perfect: A group of actors struggles to put on a production of Tennessee Williams’ seminal American drama, \u003cem>A Streetcar Named Desire\u003c/em>—but uniquely without including any of the main characters. Stanley, Blanche, Stella, and Mitch don’t get a look in. Instead, the actors focus only on minor characters and walk-on parts. Unsurprisingly, the cast members are at deep odds with what they are doing, not to mention that their leader and acting guru, Stella Burden, has disappeared. They know they’re ridiculous, failures, buffoons. America is a harsh land for those who don’t have the buffer of fame. What are you? What have you done? The Rude Mechs don’t so much critique the desire for motivation, as they show how shattering it is to need one.\u003c/p>\n\u003cp>The most awful moments in the production are often the funniest. Carl Reyholdt—a perfect name for an actor—gives a lecture at the University of Texas: When he tries to explain what he and his fellow actors attempted and how it connected to the departed Burden’s ideas, he can’t. Instead, Reyholdt dances. It’s the response of an idiot. The riotous, inexplicable moment leads to nothing and that’s the point: You can’t explain the strange alchemy between ideas and art, and especially people and art. Sometimes they just don’t add up, even after the fact. You can only watch in horror as this man attempts to shake himself free of what seem the most foolish of demons.\u003c/p>\n\u003cfigure id=\"attachment_11077588\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11077588 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o-800x600.jpg\" alt=\"4546926104_b6c7971b77_o\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o-1920x1437.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right: Lana Lesley, Jason Liebrecht, Thomas Grave. (Photo: Alan Simons)\u003c/figcaption>\u003c/figure>\n\u003cp>With the threat of foolishness, we sit back and laugh. We think we’ve seen this routine before—the backstage farce, the disastrous production, dumbass artists who believe too much. It’s easy to feel contempt for the delusional, especially if they’re looking for salvation in of all places the theater. We see the cast rehearse and it’s bad. We see the actors talk about their process and it’s embarrassing. And when one of the actresses, Elizabeth Johns (another perfect name), wants to quit at the last moment, you feel relief. They should keep this private. None of this should be made public. And yet, along with the actors on stage, we’re plunged into an overwhelming anxiety. Johns’ walkout is cosmic and soul crushing. How could an actor do that to another actor?\u003c/p>\n\u003cp>The threat of that type of emotional mayhem catches you off guard. Is there something we haven’t understood about what we’ve been watching? Surely the pay off will be awful and so why should we worry if they quit? As Johns claims, better to get a real job or invest what money that’s left in something lasting. It’s a question any artist over 30 has to ask and you feel the devastation on the stage— this is a savage attack, something a tiger might do for fun, and should never come from a fellow artist. Reyholdt’s response—“And what do you propose to do with all of us”—is a sad reminder of how fragile we are in relation to our beliefs and what we commit to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The best theater is when you fear that the actors will die or suffer a grievous injury. It’s when you sense that you are witnessing something beautiful and unique and that it could be snatched away right before you. Few people are capable of creating beauty: That they can vanish from the world, as Stella Burden does for these actors, is terrifying. And death and mayhem are the threat in \u003cem>The Method Gun\u003c/em>. When the “method gun” fires, it does so to challenge beauty’s annihilation, the threat that “everything that we have done is nothing.” That we learn that this is not true could only happen under an aesthetic as radical and sly as the Rude Mechs’.\u003c/p>\n\u003cfigure id=\"attachment_11074122\" class=\"wp-caption aligncenter\" style=\"max-width: 512px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11074122 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-512x600.jpg\" alt=\"4546938322_7631edb888_o\" width=\"512\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-512x600.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-400x469.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-1007x1180.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-1920x2250.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-1180x1383.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-960x1125.jpg 960w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right: Thomas Graves and Lana Lesley test out the method gun in the Rude Mechs’ ‘The Method Gun’ at the Z Space in San Francisco. (Photo: Kathi Kacinski)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Method Gun\u003c/em> runs from Nov. 11 -14 at Z Space in San Francisco. For tickets and information visit \u003ca href=\"http://www.zspace.org\">www.zspace.org\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Other places for a theater junkie to get his or her fix in the coming days: \u003c/strong>\u003c/p>\n\u003cp>The Rude Mechs is not only performing \u003cem>Method Gun\u003c/em> this weekend at Z Space, but also staging another work, \u003cem>\u003cstrong>\u003ca href=\"http://calperformances.org/performances/2015-16/theater/rude-mechs-stop-hitting-yourself.php\" target=\"_blank\" rel=\"noopener\">Stop Hitting Yourself\u003c/a>\u003c/strong>, \u003c/em>at the Zellerbach Playhouse in Berkeley, Nov. 19 – 22. For tickets and information visit www.calperformances.org.\u003c/p>\n\u003cp>The adventurous \u003cstrong>\u003ca href=\"http://sfcurran.com/event/steve-cuiffo-is-lenny-bruce/\" target=\"_blank\" rel=\"noopener\">Curran: Under Construction\u003c/a>\u003c/strong> series features magician-actor Steve Cuiffo channelling Lenny Bruce, 54 years to the day that Bruce actually performed at the Curran Theatre in downtown San Francisco. The show runs Nov. 19 – 21. For tickets and information visit www.sfcurran.com\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "The lauded, Austin-based performance troupe takes takes aim at theater gurus and the cult of fame.",
"status": "publish",
"parent": 0,
"modified": 1726771146,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 972
},
"headData": {
"title": "Theater Junkie: Rude Mechs' 'The Method Gun' Hits its Target | KQED",
"description": "The lauded, Austin-based performance troupe takes takes aim at theater gurus and the cult of fame.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Theater Junkie: Rude Mechs' 'The Method Gun' Hits its Target",
"datePublished": "2015-11-13T15:00:37-08:00",
"dateModified": "2024-09-19T11:39:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11074111/theater-junkie-the-work-of-fools-and-idiots",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many contemporary American plays are overstuffed with needless backstories and baroque explanations of plot. The Rude Mechs’ \u003cem>The Method Gun\u003c/em>, in its quiet way, is a corrective to all that. The members of the Austin-based experimental theater company understand that character is not backstory, that there is no narrative explanation for who a person is and what they might do. Some things remain strange, even when we do them ourselves. And that idea, the why of our actions, haunts every moment of the play.\u003c/p>\n\u003cp>The conceit is perfect: A group of actors struggles to put on a production of Tennessee Williams’ seminal American drama, \u003cem>A Streetcar Named Desire\u003c/em>—but uniquely without including any of the main characters. Stanley, Blanche, Stella, and Mitch don’t get a look in. Instead, the actors focus only on minor characters and walk-on parts. Unsurprisingly, the cast members are at deep odds with what they are doing, not to mention that their leader and acting guru, Stella Burden, has disappeared. They know they’re ridiculous, failures, buffoons. America is a harsh land for those who don’t have the buffer of fame. What are you? What have you done? The Rude Mechs don’t so much critique the desire for motivation, as they show how shattering it is to need one.\u003c/p>\n\u003cp>The most awful moments in the production are often the funniest. Carl Reyholdt—a perfect name for an actor—gives a lecture at the University of Texas: When he tries to explain what he and his fellow actors attempted and how it connected to the departed Burden’s ideas, he can’t. Instead, Reyholdt dances. It’s the response of an idiot. The riotous, inexplicable moment leads to nothing and that’s the point: You can’t explain the strange alchemy between ideas and art, and especially people and art. Sometimes they just don’t add up, even after the fact. You can only watch in horror as this man attempts to shake himself free of what seem the most foolish of demons.\u003c/p>\n\u003cfigure id=\"attachment_11077588\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11077588 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o-800x600.jpg\" alt=\"4546926104_b6c7971b77_o\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546926104_b6c7971b77_o-1920x1437.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right: Lana Lesley, Jason Liebrecht, Thomas Grave. (Photo: Alan Simons)\u003c/figcaption>\u003c/figure>\n\u003cp>With the threat of foolishness, we sit back and laugh. We think we’ve seen this routine before—the backstage farce, the disastrous production, dumbass artists who believe too much. It’s easy to feel contempt for the delusional, especially if they’re looking for salvation in of all places the theater. We see the cast rehearse and it’s bad. We see the actors talk about their process and it’s embarrassing. And when one of the actresses, Elizabeth Johns (another perfect name), wants to quit at the last moment, you feel relief. They should keep this private. None of this should be made public. And yet, along with the actors on stage, we’re plunged into an overwhelming anxiety. Johns’ walkout is cosmic and soul crushing. How could an actor do that to another actor?\u003c/p>\n\u003cp>The threat of that type of emotional mayhem catches you off guard. Is there something we haven’t understood about what we’ve been watching? Surely the pay off will be awful and so why should we worry if they quit? As Johns claims, better to get a real job or invest what money that’s left in something lasting. It’s a question any artist over 30 has to ask and you feel the devastation on the stage— this is a savage attack, something a tiger might do for fun, and should never come from a fellow artist. Reyholdt’s response—“And what do you propose to do with all of us”—is a sad reminder of how fragile we are in relation to our beliefs and what we commit to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The best theater is when you fear that the actors will die or suffer a grievous injury. It’s when you sense that you are witnessing something beautiful and unique and that it could be snatched away right before you. Few people are capable of creating beauty: That they can vanish from the world, as Stella Burden does for these actors, is terrifying. And death and mayhem are the threat in \u003cem>The Method Gun\u003c/em>. When the “method gun” fires, it does so to challenge beauty’s annihilation, the threat that “everything that we have done is nothing.” That we learn that this is not true could only happen under an aesthetic as radical and sly as the Rude Mechs’.\u003c/p>\n\u003cfigure id=\"attachment_11074122\" class=\"wp-caption aligncenter\" style=\"max-width: 512px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11074122 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-512x600.jpg\" alt=\"4546938322_7631edb888_o\" width=\"512\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-512x600.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-400x469.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-1007x1180.jpg 1007w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-1920x2250.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-1180x1383.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/4546938322_7631edb888_o-960x1125.jpg 960w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right: Thomas Graves and Lana Lesley test out the method gun in the Rude Mechs’ ‘The Method Gun’ at the Z Space in San Francisco. (Photo: Kathi Kacinski)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Method Gun\u003c/em> runs from Nov. 11 -14 at Z Space in San Francisco. For tickets and information visit \u003ca href=\"http://www.zspace.org\">www.zspace.org\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Other places for a theater junkie to get his or her fix in the coming days: \u003c/strong>\u003c/p>\n\u003cp>The Rude Mechs is not only performing \u003cem>Method Gun\u003c/em> this weekend at Z Space, but also staging another work, \u003cem>\u003cstrong>\u003ca href=\"http://calperformances.org/performances/2015-16/theater/rude-mechs-stop-hitting-yourself.php\" target=\"_blank\" rel=\"noopener\">Stop Hitting Yourself\u003c/a>\u003c/strong>, \u003c/em>at the Zellerbach Playhouse in Berkeley, Nov. 19 – 22. For tickets and information visit www.calperformances.org.\u003c/p>\n\u003cp>The adventurous \u003cstrong>\u003ca href=\"http://sfcurran.com/event/steve-cuiffo-is-lenny-bruce/\" target=\"_blank\" rel=\"noopener\">Curran: Under Construction\u003c/a>\u003c/strong> series features magician-actor Steve Cuiffo channelling Lenny Bruce, 54 years to the day that Bruce actually performed at the Curran Theatre in downtown San Francisco. The show runs Nov. 19 – 21. For tickets and information visit www.sfcurran.com\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11074111/theater-junkie-the-work-of-fools-and-idiots",
"authors": [
"8668"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11074115",
"label": "arts"
},
"arts_11036745": {
"type": "posts",
"id": "arts_11036745",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11036745",
"score": null,
"sort": [
1447171223000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1447171223,
"format": "standard",
"title": "Oakland Kids Make Opera Based on 'Amazing Grace' Children's Book Series",
"headTitle": "Oakland Kids Make Opera Based on ‘Amazing Grace’ Children’s Book Series | KQED",
"content": "\u003cp>With arts education budgets being slashed from elementary schools across the nation, it looks like the audience of the tomorrow is in jeopardy. One local gem of the Bay Area opera scene is trying to change this situation one elementary school at a time.\u003c/p>\n\u003cp>San Francisco based \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> specializes in new chamber works and is in the third year of an arts education program called “Hands-on-Opera.” The initiative involves an eight-week residency at a Bay Area elementary school in which students learn to put on a short opera complete with a conductor and a stage director, and then perform it before an audience.\u003c/p>\n\u003cp>This year, the company is working with fourth and fifth graders from Saint Martin de Porres Catholic School in Oakland on the world premiere of composer Christopher Pratorius’ \u003cem>Amazing Grace\u003c/em>, based on British author Mary Hoffman’s book of the same name. The 30-minute-long work tells the story of an optimistic girl named Grace who tries out for the role of Peter Pan even though her classmates think she is unsuitable for the part.\u003c/p>\n\u003cp>Pratorius teaches at the University of California, Santa Cruz (UCSC) and at Cal State Monterey Bay. He’s also Opera Parallèle’s composer in residence.\u003c/p>\n\u003cp>Pratorius answered some questions about this work — it’s his second children’s opera — and the program that is bringing it to life.\u003c/p>\n\u003cfigure id=\"attachment_11036749\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/chris-pratorius.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11036749\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/chris-pratorius-400x500.png\" alt=\"Christopher Pratorius\" width=\"400\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius-400x500.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius-480x600.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius.png 576w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Christopher Pratorius. \u003ccite>(Photo: Lucrecia Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you become involved with Opera Parallèle as composer in residence?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ve known artistic director Nicole Paiement and creative director Brian Staufenbiel since I was an undergraduate student at UCSC — they both were faculty members at the school. Nicole and Brian always champion young composers and new music in general, and as such we formed relationships in which I was able to grow as a composer. In a way, from my perspective, this is a logical culmination of musical dialogues that have been carried out over the last 15 years.\u003c/p>\n\u003cp>\u003cstrong>Amazing Grace is the second of three operas you’ve been commissioned to compose for Opera Parallèle. How did you decide on topics for your children’s operas? \u003c/strong>\u003c/p>\n\u003cp>These first two operas librettos were developed by Opera Parallèle and then brought to me to set, which I have found to be a really wonderful way to work. I’ve asked the musicians who’ve commissioned works in the past to choose the text, because in this way I’m working outside of my comfort zone, and that ends up prompting new musical ideas.\u003c/p>\n\u003cp>\u003cstrong>Have you considered writing one of these operas in Spanish, since you are a native speaker of this language?\u003c/strong>\u003c/p>\n\u003cp>In regards to a Spanish language opera, I would prefer a bilingual opera, something that reflects my experiences growing up. I’m certain that will happen at some point.\u003c/p>\n\u003cp>\u003cstrong>What is the rationale behind Hands-On-Opera? Is it a method of building a new audience for contemporary opera?\u003c/strong>\u003c/p>\n\u003cp>From my perspective, the primary goal is to not only bring music and opera to the specific kids we work with in these productions, but also to develop repertoire that can be used in the future to work with children in this manner.\u003c/p>\n\u003cp>The repertoire we are developing is unique in that it presents attractive and singable music for the children and more sophisticated and difficult music for the adult singers without the sense that it’s stereotypical kid’s music. The goal for me was to use the musical language I always use to tell stories that resonate with children. I think some of the arias are as musically interesting and sophisticated as settings I’ve done of Neruda or Garcia Lorca.\u003c/p>\n\u003cp>It’s also very important to me that all people envision that doors are open to them, including those of the opera house. Opera is for everyone.\u003c/p>\n\u003cp>\u003cstrong>How many children are participating? Do the children play in the orchestra?\u003c/strong>\u003c/p>\n\u003cp>I believe we have about 20 kids in the production, and they form the choir; they do not play instruments.\u003c/p>\n\u003cp>\u003cstrong>What are the particular challenges of working with children? \u003c/strong>\u003c/p>\n\u003cp>In my mind, the challenges are the same ones our teachers face every day. Maintaining focus and motivation, teaching kids to work towards long term goals, and of course dealing with the burden kids face of trying to excel in school while enduring difficult circumstances at home and in their communities. They are the same challenges all educators face, I think. The pay offs, for kids and adults alike, are huge: the joy of sharing music, the great lessons of working as a team, and of course the magic of performing art in front of an audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Amazing Grace\u003c/em> will performed at the African American Art and Culture Complex, 762 Fulton Street (at Webster), San Francisco on Nov. 12, 6:00 pm and Nov. 14, 11:00 am and 1:00 pm.\u003c/strong>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 862,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705045991,
"excerpt": "Saint Martin de Porres Catholic School students work with SF's Opera Parallèle on staging an adaptation of Mary Hammond's popular story.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Saint Martin de Porres Catholic School students work with SF's Opera Parallèle on staging an adaptation of Mary Hammond's popular story.",
"title": "Oakland Kids Make Opera Based on 'Amazing Grace' Children's Book Series | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland Kids Make Opera Based on 'Amazing Grace' Children's Book Series",
"datePublished": "2015-11-10T08:00:23-08:00",
"dateModified": "2024-01-11T23:53:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "oakland-kids-make-opera-based-on-amazing-grace-childrens-book-series",
"status": "publish",
"sticky": false,
"path": "/arts/11036745/oakland-kids-make-opera-based-on-amazing-grace-childrens-book-series",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With arts education budgets being slashed from elementary schools across the nation, it looks like the audience of the tomorrow is in jeopardy. One local gem of the Bay Area opera scene is trying to change this situation one elementary school at a time.\u003c/p>\n\u003cp>San Francisco based \u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> specializes in new chamber works and is in the third year of an arts education program called “Hands-on-Opera.” The initiative involves an eight-week residency at a Bay Area elementary school in which students learn to put on a short opera complete with a conductor and a stage director, and then perform it before an audience.\u003c/p>\n\u003cp>This year, the company is working with fourth and fifth graders from Saint Martin de Porres Catholic School in Oakland on the world premiere of composer Christopher Pratorius’ \u003cem>Amazing Grace\u003c/em>, based on British author Mary Hoffman’s book of the same name. The 30-minute-long work tells the story of an optimistic girl named Grace who tries out for the role of Peter Pan even though her classmates think she is unsuitable for the part.\u003c/p>\n\u003cp>Pratorius teaches at the University of California, Santa Cruz (UCSC) and at Cal State Monterey Bay. He’s also Opera Parallèle’s composer in residence.\u003c/p>\n\u003cp>Pratorius answered some questions about this work — it’s his second children’s opera — and the program that is bringing it to life.\u003c/p>\n\u003cfigure id=\"attachment_11036749\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/chris-pratorius.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11036749\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/chris-pratorius-400x500.png\" alt=\"Christopher Pratorius\" width=\"400\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius-400x500.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius-480x600.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/chris-pratorius.png 576w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Christopher Pratorius. \u003ccite>(Photo: Lucrecia Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you become involved with Opera Parallèle as composer in residence?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve known artistic director Nicole Paiement and creative director Brian Staufenbiel since I was an undergraduate student at UCSC — they both were faculty members at the school. Nicole and Brian always champion young composers and new music in general, and as such we formed relationships in which I was able to grow as a composer. In a way, from my perspective, this is a logical culmination of musical dialogues that have been carried out over the last 15 years.\u003c/p>\n\u003cp>\u003cstrong>Amazing Grace is the second of three operas you’ve been commissioned to compose for Opera Parallèle. How did you decide on topics for your children’s operas? \u003c/strong>\u003c/p>\n\u003cp>These first two operas librettos were developed by Opera Parallèle and then brought to me to set, which I have found to be a really wonderful way to work. I’ve asked the musicians who’ve commissioned works in the past to choose the text, because in this way I’m working outside of my comfort zone, and that ends up prompting new musical ideas.\u003c/p>\n\u003cp>\u003cstrong>Have you considered writing one of these operas in Spanish, since you are a native speaker of this language?\u003c/strong>\u003c/p>\n\u003cp>In regards to a Spanish language opera, I would prefer a bilingual opera, something that reflects my experiences growing up. I’m certain that will happen at some point.\u003c/p>\n\u003cp>\u003cstrong>What is the rationale behind Hands-On-Opera? Is it a method of building a new audience for contemporary opera?\u003c/strong>\u003c/p>\n\u003cp>From my perspective, the primary goal is to not only bring music and opera to the specific kids we work with in these productions, but also to develop repertoire that can be used in the future to work with children in this manner.\u003c/p>\n\u003cp>The repertoire we are developing is unique in that it presents attractive and singable music for the children and more sophisticated and difficult music for the adult singers without the sense that it’s stereotypical kid’s music. The goal for me was to use the musical language I always use to tell stories that resonate with children. I think some of the arias are as musically interesting and sophisticated as settings I’ve done of Neruda or Garcia Lorca.\u003c/p>\n\u003cp>It’s also very important to me that all people envision that doors are open to them, including those of the opera house. Opera is for everyone.\u003c/p>\n\u003cp>\u003cstrong>How many children are participating? Do the children play in the orchestra?\u003c/strong>\u003c/p>\n\u003cp>I believe we have about 20 kids in the production, and they form the choir; they do not play instruments.\u003c/p>\n\u003cp>\u003cstrong>What are the particular challenges of working with children? \u003c/strong>\u003c/p>\n\u003cp>In my mind, the challenges are the same ones our teachers face every day. Maintaining focus and motivation, teaching kids to work towards long term goals, and of course dealing with the burden kids face of trying to excel in school while enduring difficult circumstances at home and in their communities. They are the same challenges all educators face, I think. The pay offs, for kids and adults alike, are huge: the joy of sharing music, the great lessons of working as a team, and of course the magic of performing art in front of an audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Amazing Grace\u003c/em> will performed at the African American Art and Culture Complex, 762 Fulton Street (at Webster), San Francisco on Nov. 12, 6:00 pm and Nov. 14, 11:00 am and 1:00 pm.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11036745/oakland-kids-make-opera-based-on-amazing-grace-childrens-book-series",
"authors": [
"8660"
],
"categories": [
"arts_69",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_989"
],
"featImg": "arts_11036747",
"label": "arts"
},
"arts_11070280": {
"type": "posts",
"id": "arts_11070280",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11070280",
"score": null,
"sort": [
1447151895000
]
},
"guestAuthors": [],
"slug": "furor-growing-online-over-proposed-plans-for-palace-of-fine-arts",
"title": "Furor Growing Online Over Proposed Plans for Palace of Fine Arts",
"publishDate": 1447151895,
"format": "standard",
"headTitle": "Furor Growing Online Over Proposed Plans for Palace of Fine Arts | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Furor over three proposed plans that the San Francisco Recreation and Parks Commission is considering for the Palace of Fine Arts has grown since the plans were made public last Thursday, as evidenced by the fast-spreading popularity of an online petition asking the city to decline all three proposals. \u003c/p>\n\u003cp>The \u003ca href=\"https://goo.gl/AtdfVY\" target=\"_blank\" rel=\"noopener\">petition on change.org \u003c/a>demands that the commission keep the Palace of Fine Arts as a “multi-Cultural Arts/Education Center.” Created Sunday, it has garnered nearly 10,000 signatures in two days and has just as many comments.\u003c/p>\n\u003cp>“I’m signing this because I believe culturally and historically significant landmarks should NOT be sold to the highest bidder for the sole pleasure of the wealthy elite,” petition supporter \u003ca href=\"https://www.change.org/p/san-francisco-recreation-and-parks-commission-edwin-lee-preserve-the-palace-of-fine-arts-as-a-multi-cultural-arts-amp-education-center/c/331050218\" target=\"_blank\" rel=\"noopener\">Alicia Kat Vancil\u003c/a> wrote. “The fact that you are even considering it is an unbelievable insult to the citizens of the Bay Area and the creators of these beautiful PUBLIC establishments.” \u003c/p>\n\u003cp>In a \u003ca href=\"http://ww2.kqed.org/arts/2015/11/06/sf-parks-commission-looking-at-3-bids-for-palace-of-fine-arts-project/\" target=\"_blank\" rel=\"noopener\">public meeting held last week\u003c/a>, the commission revealed that it was considering two proposals that would turn the century-old landmark theater into a hotel, while the third would convert it into a restaurant and museum. The winning proposal would sign a 55-year-lease with the building, which was originally constructed as part of the 1915\u003ca href=\"http://ww2.kqed.org/arts/series/1915-worlds-fair-celebration/\" target=\"_blank\" rel=\"noopener\"> Panama-Pacific Exposition.\u003c/a> \u003c/p>\n\u003cp>“None of those proposals preserve the site as the important cultural/educational center San Franciscans have known it to be, nor do they keep it a community space that is open and available to ALL people,” the petition states. “Once again, our officials are preparing to sell out from under us another piece of San Francisco heritage, a heritage that belongs solely to the citizens of this City and to those who share a love for it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To learn more, please read \u003ca href=\"http://ww2.kqed.org/arts/2015/11/06/sf-parks-commission-looking-at-3-bids-for-palace-of-fine-arts-project/\" target=\"_blank\" rel=\"noopener\">our coverage of last week’s meeting\u003c/a>. \u003c/p>\n\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726764026,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 316
},
"headData": {
"title": "Furor Growing Online Over Proposed Plans for Palace of Fine Arts | KQED",
"description": "Furor over three proposed plans that the San Francisco Recreation and Parks Commission is considering for the Palace of Fine Arts has grown since the plans were made public last Thursday, as evidenced by the fast-spreading popularity of an online petition asking the city to decline all three proposals. The petition on change.org demands that the commission keep the Palace of Fine Arts as a "multi-Cultural Arts/Education Center." Created Sunday, it has garnered nearly 10,000 signatures in two days and has just as many comments. "I'm signing this because I believe culturally and historically significant landmarks should NOT be sold",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Furor Growing Online Over Proposed Plans for Palace of Fine Arts",
"datePublished": "2015-11-10T02:38:15-08:00",
"dateModified": "2024-09-19T09:40:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11070280/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Furor over three proposed plans that the San Francisco Recreation and Parks Commission is considering for the Palace of Fine Arts has grown since the plans were made public last Thursday, as evidenced by the fast-spreading popularity of an online petition asking the city to decline all three proposals. \u003c/p>\n\u003cp>The \u003ca href=\"https://goo.gl/AtdfVY\" target=\"_blank\" rel=\"noopener\">petition on change.org \u003c/a>demands that the commission keep the Palace of Fine Arts as a “multi-Cultural Arts/Education Center.” Created Sunday, it has garnered nearly 10,000 signatures in two days and has just as many comments.\u003c/p>\n\u003cp>“I’m signing this because I believe culturally and historically significant landmarks should NOT be sold to the highest bidder for the sole pleasure of the wealthy elite,” petition supporter \u003ca href=\"https://www.change.org/p/san-francisco-recreation-and-parks-commission-edwin-lee-preserve-the-palace-of-fine-arts-as-a-multi-cultural-arts-amp-education-center/c/331050218\" target=\"_blank\" rel=\"noopener\">Alicia Kat Vancil\u003c/a> wrote. “The fact that you are even considering it is an unbelievable insult to the citizens of the Bay Area and the creators of these beautiful PUBLIC establishments.” \u003c/p>\n\u003cp>In a \u003ca href=\"http://ww2.kqed.org/arts/2015/11/06/sf-parks-commission-looking-at-3-bids-for-palace-of-fine-arts-project/\" target=\"_blank\" rel=\"noopener\">public meeting held last week\u003c/a>, the commission revealed that it was considering two proposals that would turn the century-old landmark theater into a hotel, while the third would convert it into a restaurant and museum. The winning proposal would sign a 55-year-lease with the building, which was originally constructed as part of the 1915\u003ca href=\"http://ww2.kqed.org/arts/series/1915-worlds-fair-celebration/\" target=\"_blank\" rel=\"noopener\"> Panama-Pacific Exposition.\u003c/a> \u003c/p>\n\u003cp>“None of those proposals preserve the site as the important cultural/educational center San Franciscans have known it to be, nor do they keep it a community space that is open and available to ALL people,” the petition states. “Once again, our officials are preparing to sell out from under us another piece of San Francisco heritage, a heritage that belongs solely to the citizens of this City and to those who share a love for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To learn more, please read \u003ca href=\"http://ww2.kqed.org/arts/2015/11/06/sf-parks-commission-looking-at-3-bids-for-palace-of-fine-arts-project/\" target=\"_blank\" rel=\"noopener\">our coverage of last week’s meeting\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11070280/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts",
"authors": [
"93"
],
"categories": [
"arts_1",
"arts_235",
"arts_967"
],
"tags": [
"arts_596"
],
"featImg": "arts_11061737",
"label": "arts"
},
"arts_11059814": {
"type": "posts",
"id": "arts_11059814",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11059814",
"score": null,
"sort": [
1447124439000
]
},
"guestAuthors": [],
"slug": "show-me-yours-post-apocalyptic-circus-lines-ballet-and-more",
"title": "Show Me Yours: Post-Apocalyptic Circus, LINES Ballet and More",
"publishDate": 1447124439,
"format": "standard",
"headTitle": "Show Me Yours: Post-Apocalyptic Circus, LINES Ballet and More | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>What could be more intimate than a night out at the theater? The velvet curtains. The low lights. The bodies wedged up against each other in seats that squeak like the beds in an hourly motel.\u003c/p>\n\u003cp>The Bay Area performing arts scene has all of the the above in abundance, and much much more to offer besides. Visit KQED Arts every Monday for your guide to some of the most intriguing local happenings in \u003cspan style=\"font-weight: 400\">theater, \u003c/span>\u003cspan style=\"font-weight: 400\">dance,\u003c/span> \u003cspan style=\"font-weight: 400\">comedy,\u003c/span> \u003cspan style=\"font-weight: 400\">opera, \u003c/span>\u003cspan style=\"font-weight: 400\">spoken word,\u003c/span> \u003cspan style=\"font-weight: 400\">circus,\u003c/span> \u003cspan style=\"font-weight: 400\">musicals,\u003c/span> \u003cspan style=\"font-weight: 400\">performance art and \u003c/span>\u003cspan style=\"font-weight: 400\">cabaret. \u003c/span>I’ll show you mine, if you…\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 13 – Sunday, Nov. 15:\u003ca href=\"http://counterpulse.org/?tribe_events=arc-2015-2/\" target=\"_blank\" rel=\"noopener\"> \u003cem>This Year is Different: An Absurdist Musical About Self-Help\u003c/em> \u003c/a>at Counterpulse, San Francisco. \u003c/strong>“I have never met anyone before who wants to become a shittier person,” writes choreographer and Counterpulse resident artist Liz Tenuto in her blog detailing the rehearsal process for her new musical/performance art piece. In an effort inspired by Tenuto’s desire, as she puts it, to dedicate a year of her life “to making choices that make me a better person,” she brings her surrealist sensibility to exploring why people are so obsessed with self-improvement.\u003c/p>\n\u003cfigure id=\"attachment_11059913\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/20150316-DSC_2281__1434661422_108.233.85.180.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11059913\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/20150316-DSC_2281__1434661422_108.233.85.180.jpg\" alt=\"'This Year Is Different: An Absurdist Musical About Self-Help' by Liz Tenuto at Counterpulse\" width=\"400\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/20150316-DSC_2281__1434661422_108.233.85.180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/20150316-DSC_2281__1434661422_108.233.85.180-397x600.jpg 397w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘This Year Is Different: An Absurdist Musical About Self-Help’ by Liz Tenuto at Counterpulse \u003ccite>(Photo: Robbie Sweeney/Counterpulse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 14:\u003cem>\u003ca href=\"http://sanjosetheaters.org/event/bhakthi-a-dance-drama-in-english/?instance_id=6528\" target=\"_blank\" rel=\"noopener\"> Bhakthi: A Dance Drama in English\u003c/a>\u003c/em> at the San Jose Center for the Performing Arts. \u003c/strong>On the list of “Most Fascinating Conversations Ever to have Taken Place in the History of the World,” the one that occurred on July 14, 1930 between Albert Einstein and Rabindranath Tagore must rank right near the top. The legendary meeting in Berlin between the German scientist and the Indian philosopher covered everything from poetry to particle physics, and is now the subject of a vibrant movement-based theatrical extravaganza featuring a cast of classical Indian dancers and whirligig visuals.\u003c/p>\n\u003cp>\u003cstrong>Now through Nov. 15: Bootstrap Theater Foundation’s \u003ca href=\"http://zspace.org/guest-shows/arctic-requiem\" target=\"_blank\" rel=\"noopener\">Arctic Requiem: The Story of Luke Cole and Kivalina\u003c/a> at Z Space Below. \u003c/strong>This prescient new drama by Sharmon J. Hilfinger and Joan McMillen tinged with original live piano and cello music, tells the engrossing “David vs. Goliath” story of the members of the Inupiat Eskimo community in Alaska and their fight against big industry to save their ancient way of life. The late San Francisco environmental lawyer, Luke Cole, stepped in to defend the Inupiat, and, after a long struggle, the community eventually became among the first climate change refugees in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Now through Nov. 15: \u003cem>\u003ca href=\"https://www.linesballet.org/performances/fall-home-season/\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet’s Fall Home Season\u003c/a>\u003c/em> at the Yerba Buena Center for the Arts, San Francisco. \u003c/strong>The muscular, take-no-prisoners style of Alonzo King’s choreography meets its match in the singing of Lisa Fischer. The Bay Area dance company is partnering with the versatile vocalist for its latest hometown appearance at YBCA. One of the most successful backup singers in the industry with star power in her own right, Fischer has performed with the likes of Mick Jagger, Beyonce and Sting, and was one of the artists featured in the documentary \u003cem>Twenty Feet from Stardom\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11059911\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CW-Ada-KZ1-e1445269054761.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11059911\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CW-Ada-KZ1-e1445269054761.jpg\" alt=\"Kathryn Zdan plays Ada Lovelace in Lauren Gunderson’s 'Ada and the Memory Engine.'\" width=\"300\" height=\"200\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kathryn Zdan plays Ada Lovelace in Lauren Gunderson’s ‘Ada and the Memory Engine.’ \u003ccite>(Photo: Jim Norrena/Central Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Nov. 22: \u003cem>\u003ca href=\"http://centralworks.org/ada/\" target=\"_blank\" rel=\"noopener\">Ada and the Memory Machine\u003c/a>\u003c/em> at the Berkeley City Club. \u003c/strong>\u003cbr>\nLord Byron’s only legitimate child and arguably the world’s first ever computer programmer, Ada Lovelace has inspired writers as diverse as William Gibson and Tom Stoppard with her story. In this world premiere production in Berkeley by the ever-thoughtful Central Works theater company, local playwright-on-the-make Lauren Gunderson dramatizes the relationship between Lovelace and fellow tech nerd Charles Babbage. Prepare for your circuits to be blown.\u003c/p>\n\u003cp>\u003cstrong>Nov. 14 – Dec. 20: \u003cem>\u003ca href=\"http://www.salvagecircus.com/\" target=\"_blank\" rel=\"noopener\">Salvage (A Circus)\u003c/a>\u003c/em> at the Kinetic Arts Center, Oakland. \u003c/strong>From \u003cem>Mad Max\u003c/em> to \u003cem>Terminator\u003c/em>, Hollywood has long had the final word when it comes to portrayals of post-apocalyptic destruction. But circus? Not so much. Yet in their dramatic, new production, Circus Beyond the Ring and the Kinetic Arts Center in Oakland seek to defy the art form’s usual focus on the flighty and fancy-free, opting instead to present visions of survivors on the precipice of calamity, fighting to prevent themselves from tumbling into the abyss.\u003c/p>\n\u003cp>And here are three more events worth checking out…\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 11:\u003c/strong> \u003cstrong>\u003ca href=\"http://www.blackswanarts.org/table/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Prepared Table\u003c/em>\u003c/a>\u003c/strong> presented by Black Swan Arts at the Bellevue Club, Oakland.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 11 – Saturday, Nov. 14:\u003c/strong> \u003cstrong>\u003ca href=\"http://zspace.org/new-work/the-method-gun\" target=\"_blank\" rel=\"noopener\">\u003cem>The Method Gun\u003c/em>\u003c/a> \u003c/strong>presented by The Rude Mechanicals at Z Space, San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 12 – Saturday, Nov. 14:\u003cem> \u003ca href=\"https://operaparallele.org/amazing-grace/\" target=\"_blank\" rel=\"noopener\">Amazing Grace\u003c/a>\u003c/em>\u003c/strong>, a children’s opera presented by Opera Parallele at the African American Art and Culture Complex, San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\n",
"blocks": [],
"excerpt": "This week our critic's performing arts picks also include a surrealist self-help musical and Einstein’s theories explored through Indian classical dance.\r\n",
"status": "publish",
"parent": 0,
"modified": 1726771148,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 839
},
"headData": {
"title": "Show Me Yours: Post-Apocalyptic Circus, LINES Ballet and More | KQED",
"description": "This week our critic's performing arts picks also include a surrealist self-help musical and Einstein’s theories explored through Indian classical dance.\r\n",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Show Me Yours: Post-Apocalyptic Circus, LINES Ballet and More",
"datePublished": "2015-11-09T19:00:39-08:00",
"dateModified": "2024-09-19T11:39:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11059814/show-me-yours-post-apocalyptic-circus-lines-ballet-and-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What could be more intimate than a night out at the theater? The velvet curtains. The low lights. The bodies wedged up against each other in seats that squeak like the beds in an hourly motel.\u003c/p>\n\u003cp>The Bay Area performing arts scene has all of the the above in abundance, and much much more to offer besides. Visit KQED Arts every Monday for your guide to some of the most intriguing local happenings in \u003cspan style=\"font-weight: 400\">theater, \u003c/span>\u003cspan style=\"font-weight: 400\">dance,\u003c/span> \u003cspan style=\"font-weight: 400\">comedy,\u003c/span> \u003cspan style=\"font-weight: 400\">opera, \u003c/span>\u003cspan style=\"font-weight: 400\">spoken word,\u003c/span> \u003cspan style=\"font-weight: 400\">circus,\u003c/span> \u003cspan style=\"font-weight: 400\">musicals,\u003c/span> \u003cspan style=\"font-weight: 400\">performance art and \u003c/span>\u003cspan style=\"font-weight: 400\">cabaret. \u003c/span>I’ll show you mine, if you…\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 13 – Sunday, Nov. 15:\u003ca href=\"http://counterpulse.org/?tribe_events=arc-2015-2/\" target=\"_blank\" rel=\"noopener\"> \u003cem>This Year is Different: An Absurdist Musical About Self-Help\u003c/em> \u003c/a>at Counterpulse, San Francisco. \u003c/strong>“I have never met anyone before who wants to become a shittier person,” writes choreographer and Counterpulse resident artist Liz Tenuto in her blog detailing the rehearsal process for her new musical/performance art piece. In an effort inspired by Tenuto’s desire, as she puts it, to dedicate a year of her life “to making choices that make me a better person,” she brings her surrealist sensibility to exploring why people are so obsessed with self-improvement.\u003c/p>\n\u003cfigure id=\"attachment_11059913\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/20150316-DSC_2281__1434661422_108.233.85.180.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11059913\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/20150316-DSC_2281__1434661422_108.233.85.180.jpg\" alt=\"'This Year Is Different: An Absurdist Musical About Self-Help' by Liz Tenuto at Counterpulse\" width=\"400\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/20150316-DSC_2281__1434661422_108.233.85.180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/20150316-DSC_2281__1434661422_108.233.85.180-397x600.jpg 397w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘This Year Is Different: An Absurdist Musical About Self-Help’ by Liz Tenuto at Counterpulse \u003ccite>(Photo: Robbie Sweeney/Counterpulse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 14:\u003cem>\u003ca href=\"http://sanjosetheaters.org/event/bhakthi-a-dance-drama-in-english/?instance_id=6528\" target=\"_blank\" rel=\"noopener\"> Bhakthi: A Dance Drama in English\u003c/a>\u003c/em> at the San Jose Center for the Performing Arts. \u003c/strong>On the list of “Most Fascinating Conversations Ever to have Taken Place in the History of the World,” the one that occurred on July 14, 1930 between Albert Einstein and Rabindranath Tagore must rank right near the top. The legendary meeting in Berlin between the German scientist and the Indian philosopher covered everything from poetry to particle physics, and is now the subject of a vibrant movement-based theatrical extravaganza featuring a cast of classical Indian dancers and whirligig visuals.\u003c/p>\n\u003cp>\u003cstrong>Now through Nov. 15: Bootstrap Theater Foundation’s \u003ca href=\"http://zspace.org/guest-shows/arctic-requiem\" target=\"_blank\" rel=\"noopener\">Arctic Requiem: The Story of Luke Cole and Kivalina\u003c/a> at Z Space Below. \u003c/strong>This prescient new drama by Sharmon J. Hilfinger and Joan McMillen tinged with original live piano and cello music, tells the engrossing “David vs. Goliath” story of the members of the Inupiat Eskimo community in Alaska and their fight against big industry to save their ancient way of life. The late San Francisco environmental lawyer, Luke Cole, stepped in to defend the Inupiat, and, after a long struggle, the community eventually became among the first climate change refugees in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Nov. 15: \u003cem>\u003ca href=\"https://www.linesballet.org/performances/fall-home-season/\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet’s Fall Home Season\u003c/a>\u003c/em> at the Yerba Buena Center for the Arts, San Francisco. \u003c/strong>The muscular, take-no-prisoners style of Alonzo King’s choreography meets its match in the singing of Lisa Fischer. The Bay Area dance company is partnering with the versatile vocalist for its latest hometown appearance at YBCA. One of the most successful backup singers in the industry with star power in her own right, Fischer has performed with the likes of Mick Jagger, Beyonce and Sting, and was one of the artists featured in the documentary \u003cem>Twenty Feet from Stardom\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11059911\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CW-Ada-KZ1-e1445269054761.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11059911\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CW-Ada-KZ1-e1445269054761.jpg\" alt=\"Kathryn Zdan plays Ada Lovelace in Lauren Gunderson’s 'Ada and the Memory Engine.'\" width=\"300\" height=\"200\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kathryn Zdan plays Ada Lovelace in Lauren Gunderson’s ‘Ada and the Memory Engine.’ \u003ccite>(Photo: Jim Norrena/Central Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Nov. 22: \u003cem>\u003ca href=\"http://centralworks.org/ada/\" target=\"_blank\" rel=\"noopener\">Ada and the Memory Machine\u003c/a>\u003c/em> at the Berkeley City Club. \u003c/strong>\u003cbr>\nLord Byron’s only legitimate child and arguably the world’s first ever computer programmer, Ada Lovelace has inspired writers as diverse as William Gibson and Tom Stoppard with her story. In this world premiere production in Berkeley by the ever-thoughtful Central Works theater company, local playwright-on-the-make Lauren Gunderson dramatizes the relationship between Lovelace and fellow tech nerd Charles Babbage. Prepare for your circuits to be blown.\u003c/p>\n\u003cp>\u003cstrong>Nov. 14 – Dec. 20: \u003cem>\u003ca href=\"http://www.salvagecircus.com/\" target=\"_blank\" rel=\"noopener\">Salvage (A Circus)\u003c/a>\u003c/em> at the Kinetic Arts Center, Oakland. \u003c/strong>From \u003cem>Mad Max\u003c/em> to \u003cem>Terminator\u003c/em>, Hollywood has long had the final word when it comes to portrayals of post-apocalyptic destruction. But circus? Not so much. Yet in their dramatic, new production, Circus Beyond the Ring and the Kinetic Arts Center in Oakland seek to defy the art form’s usual focus on the flighty and fancy-free, opting instead to present visions of survivors on the precipice of calamity, fighting to prevent themselves from tumbling into the abyss.\u003c/p>\n\u003cp>And here are three more events worth checking out…\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 11:\u003c/strong> \u003cstrong>\u003ca href=\"http://www.blackswanarts.org/table/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Prepared Table\u003c/em>\u003c/a>\u003c/strong> presented by Black Swan Arts at the Bellevue Club, Oakland.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 11 – Saturday, Nov. 14:\u003c/strong> \u003cstrong>\u003ca href=\"http://zspace.org/new-work/the-method-gun\" target=\"_blank\" rel=\"noopener\">\u003cem>The Method Gun\u003c/em>\u003c/a> \u003c/strong>presented by The Rude Mechanicals at Z Space, San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 12 – Saturday, Nov. 14:\u003cem> \u003ca href=\"https://operaparallele.org/amazing-grace/\" target=\"_blank\" rel=\"noopener\">Amazing Grace\u003c/a>\u003c/em>\u003c/strong>, a children’s opera presented by Opera Parallele at the African American Art and Culture Complex, San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11059814/show-me-yours-post-apocalyptic-circus-lines-ballet-and-more",
"authors": [
"8608"
],
"programs": [
"arts_140"
],
"categories": [
"arts_966",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11059815",
"label": "arts_140"
},
"arts_11040991": {
"type": "posts",
"id": "arts_11040991",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11040991",
"score": null,
"sort": [
1446217244000
]
},
"guestAuthors": [],
"slug": "theater-junkie-what-do-joy-division-and-eugene-oneill-have-in-common",
"title": "Theater Junkie: What do Joy Division and Eugene O'Neill have in Common?",
"publishDate": 1446217244,
"format": "standard",
"headTitle": "Theater Junkie: What do Joy Division and Eugene O’Neill have in Common? | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Every time I think of joy, I think of the post-punk band Joy Division: That its members named the band after a concentration camp brothel where Jewish prisoners serviced SS officers is just the first of a series of tragic gestures that ended with lead singer Ian Curtis swinging from the rafters of his Manchester flat, a suicide at the age of twenty-three. It all makes for one grotesque, ironic joke. And yet the band’s music — somber, jagged, haunted — is full of joy. It suggests that joy isn’t a state unto itself, something pure and cut off from the world, but rather the remains of fear, hatred, and our own savage sense of survival. It is an after effect, what we wish for after the violence of the world has had its way.\u003c/p>\n\u003cp>Nowhere is this savagery better expressed than in Dave Malloy’s brilliant and terrifying song cycle, \u003cem>Ghost Quartet\u003c/em>. You couldn’t ask for a more suitable setting than the empty Curran Theatre, presently undergoing a full-scale renovation. With the vast auditorium—silent and stately—looming in the background, it’s as if the performers and the audience, relegated to the tiny bit of land of the stage, are floating in space.\u003c/p>\n\u003cp>By necessity, musical theater often relies on simple stories simply told. But Malloy is a master of complex narrative techniques. The composer effortlessly takes four stories, spanning the 14th to the 21st centuries, and twists them until they seamlessly blend into each other. He achieves this without explaining them out. Instead, he relies on the emotion of the moment and our ability to piece together converging patterns, very much like how an astronomer might explain the order of the stars to a child.\u003c/p>\n\u003cp>So we get two sets of sisters, a Rose and Pearl seven centuries apart, who are connected by a 19th century Roxie whose dead sister is also a Rose. That they are all connected by murder is just the beginning of their nightmares. How Malloy and his talented performer-musicians shepherd these tragic stories towards a communal and joyful end is a wonder that is as simple as it is majestic.\u003c/p>\n\u003cp>\u003cem>Ghost Quartet\u003c/em> isn’t alone, though. Throughout the Bay Area, theater companies large and small have been taking a torturous path to joy. Perhaps in anticipation of the coming season\u003cstrong>, \u003c/strong>we should take these as warning signs of the difficult times to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill’s \u003cem>Ah, Wilderness! \u003c/em>at the American Conservatory Theater (ACT)\u003c/strong>\u003c/p>\n\u003cp>Eugene O’Neill’s \u003cem>Ah, Wilderness!\u003c/em> offers one of the savviest, saddest scenes of joy in the American theater. The set up is sentimental; the result is not. On the fourth of July, Sid, played by Dan Hiatt in ACT’s new production, is looking forward to a date with Lily (Margo Hall). But to get it, he can’t get drunk at the afternoon picnic. Sid’s sister, Essie (Rachel Ticotin), is married to Lily’s brother, Nate (Anthony Fusco). One could say that Nate and Essie are the ideal that Sid and Lily just miss.\u003c/p>\n\u003cfigure id=\"attachment_11041094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11041094 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web-800x533.jpg\" alt=\"Sid Davis (Dan Hiatt, pictured in orange suit) indulges the Miller family with food gags at the dinner table in Eugene O'Neill's Ah, Wilderness!, performing at A.C.T.'s Geary Theater through Sunday, November 8.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sid Davis (Dan Hiatt, pictured in orange suit) entertains the Miller family in Eugene O’Neill’s ‘Ah, Wilderness!’ at ACT’s Geary Theater. (Photo: Kevin Berne)\u003c/figcaption>\u003c/figure>\n\u003cp>When Sid and Nate come back slightly drunk and then some, the family sits down to dinner (including three of the children) and Sid starts to entertain them. Sid is entertaining, and he is clearly better at it drunk, and Lily is having a great time, and so are we, and that’s the problem. The more joy he brings, the less joyful his life becomes — and Lily’s — and finally all those who love him. Hiatt, Hall, Fusco and Ticotin bring this all off without seeming to even wind up. It just happens. It’s the high point of a fine production, but even better, it haunts every joyful moment after it with real fear.\u003c/p>\n\u003cp>\u003cstrong>Shotgun Players’ production of Aphra Behn’s \u003cem>The Rover\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Real fear also courses through the Shotgun Players’ production of Aphra Behn’s Restoration comedy, \u003cem>The Rover\u003c/em>. Set in Naples during carnival season, it’s a fast, sharp farce with a nasty, vicious edge, dexterously directed by M. Graham Smith with a brilliant sound design by Theodore J.H. Hulsker. At times it’s hard to tell what brings the characters more pleasure: love or inflicting pain. It’s a toss up for the audience, too.\u003c/p>\n\u003cfigure id=\"attachment_11041096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11041096 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/8-800x533.jpg\" alt=\"The Rover\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(from right to left) Wilmore (Jeremy Kahn) and Hellena (Caitlyn Louchard) find joy as Don Pedro (Dan Saski) looks on in ‘The Rover’ at the Ashby Stage. (Photo: Pak Han)\u003c/figcaption>\u003c/figure>\n\u003cp>Well, come on, not really.\u003c/p>\n\u003cp>We might root for the central couple, good Florinda and her steadfast Captain Belvile. But it’s the rover, Captain Wilmore, who intrigues. And not just us, but also Florinda’s sister, Hellena, scrapping life in the convent for a different kind of God. That this God’s a sick dick — that he mistakenly tries to rape his good friend’s fiancée, seduces a wily and experienced courtesan to the point of despair, and whose only redeeming feature is an animal’s ability to survive — well, that’s the type of joy you get in Restoration Comedy. But what a pleasure Wilmore the rover is, and Jeremy Kahn’s performance catches this demi-god in all his sleazy wonder.\u003c/p>\n\u003cp>In its season of women playwrights, Shotgun seems concerned with selling Behn’s feminist credentials, and she was a woman ahead of her time. But she was also an artist \u003cem>of\u003c/em> her time and the Restoration playwrights (Behn, Congreve, Sheridan, Farquhar) understood that most people are corrupt. And so she comes to a disturbing conclusion about joy: In Behn’s world, you must learn to forget every kind of injustice if you want any kind of happiness. That’s joy with an undertow, which is where it belongs, submerged and gasping for air.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Ghost Quartet\u003c/em> runs through October 31, 2015 at the Curran Theater in San Francisco. For tickets and information visit \u003ca href=\"http://www.sfcurran.com\">www.sfcurran.com\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Ah, Wilderness!\u003c/em> runs through November 8, 2015 at the Geary Theater in San Francisco. For tickets and information visit \u003ca href=\"http://www.act-sf.org\">http://www.act-sf.org\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Rover\u003c/em> runs through November 15, 2015 at the Ashby Theater in Berkeley. For tickets and information visit \u003ca href=\"http://www.shotgunplayers.org\">www.shotgunplayers.org\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "Productions at ACT, Shotgun Players and The Curran Theatre explore the creepy side of euphoria.",
"status": "publish",
"parent": 0,
"modified": 1726771151,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1125
},
"headData": {
"title": "Theater Junkie: What do Joy Division and Eugene O'Neill have in Common? | KQED",
"description": "Productions at ACT, Shotgun Players and The Curran Theatre explore the creepy side of euphoria.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Theater Junkie: What do Joy Division and Eugene O'Neill have in Common?",
"datePublished": "2015-10-30T08:00:44-07:00",
"dateModified": "2024-09-19T11:39:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11040991/theater-junkie-what-do-joy-division-and-eugene-oneill-have-in-common",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every time I think of joy, I think of the post-punk band Joy Division: That its members named the band after a concentration camp brothel where Jewish prisoners serviced SS officers is just the first of a series of tragic gestures that ended with lead singer Ian Curtis swinging from the rafters of his Manchester flat, a suicide at the age of twenty-three. It all makes for one grotesque, ironic joke. And yet the band’s music — somber, jagged, haunted — is full of joy. It suggests that joy isn’t a state unto itself, something pure and cut off from the world, but rather the remains of fear, hatred, and our own savage sense of survival. It is an after effect, what we wish for after the violence of the world has had its way.\u003c/p>\n\u003cp>Nowhere is this savagery better expressed than in Dave Malloy’s brilliant and terrifying song cycle, \u003cem>Ghost Quartet\u003c/em>. You couldn’t ask for a more suitable setting than the empty Curran Theatre, presently undergoing a full-scale renovation. With the vast auditorium—silent and stately—looming in the background, it’s as if the performers and the audience, relegated to the tiny bit of land of the stage, are floating in space.\u003c/p>\n\u003cp>By necessity, musical theater often relies on simple stories simply told. But Malloy is a master of complex narrative techniques. The composer effortlessly takes four stories, spanning the 14th to the 21st centuries, and twists them until they seamlessly blend into each other. He achieves this without explaining them out. Instead, he relies on the emotion of the moment and our ability to piece together converging patterns, very much like how an astronomer might explain the order of the stars to a child.\u003c/p>\n\u003cp>So we get two sets of sisters, a Rose and Pearl seven centuries apart, who are connected by a 19th century Roxie whose dead sister is also a Rose. That they are all connected by murder is just the beginning of their nightmares. How Malloy and his talented performer-musicians shepherd these tragic stories towards a communal and joyful end is a wonder that is as simple as it is majestic.\u003c/p>\n\u003cp>\u003cem>Ghost Quartet\u003c/em> isn’t alone, though. Throughout the Bay Area, theater companies large and small have been taking a torturous path to joy. Perhaps in anticipation of the coming season\u003cstrong>, \u003c/strong>we should take these as warning signs of the difficult times to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill’s \u003cem>Ah, Wilderness! \u003c/em>at the American Conservatory Theater (ACT)\u003c/strong>\u003c/p>\n\u003cp>Eugene O’Neill’s \u003cem>Ah, Wilderness!\u003c/em> offers one of the savviest, saddest scenes of joy in the American theater. The set up is sentimental; the result is not. On the fourth of July, Sid, played by Dan Hiatt in ACT’s new production, is looking forward to a date with Lily (Margo Hall). But to get it, he can’t get drunk at the afternoon picnic. Sid’s sister, Essie (Rachel Ticotin), is married to Lily’s brother, Nate (Anthony Fusco). One could say that Nate and Essie are the ideal that Sid and Lily just miss.\u003c/p>\n\u003cfigure id=\"attachment_11041094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11041094 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web-800x533.jpg\" alt=\"Sid Davis (Dan Hiatt, pictured in orange suit) indulges the Miller family with food gags at the dinner table in Eugene O'Neill's Ah, Wilderness!, performing at A.C.T.'s Geary Theater through Sunday, November 8.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ah_Wilderness_07_web-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sid Davis (Dan Hiatt, pictured in orange suit) entertains the Miller family in Eugene O’Neill’s ‘Ah, Wilderness!’ at ACT’s Geary Theater. (Photo: Kevin Berne)\u003c/figcaption>\u003c/figure>\n\u003cp>When Sid and Nate come back slightly drunk and then some, the family sits down to dinner (including three of the children) and Sid starts to entertain them. Sid is entertaining, and he is clearly better at it drunk, and Lily is having a great time, and so are we, and that’s the problem. The more joy he brings, the less joyful his life becomes — and Lily’s — and finally all those who love him. Hiatt, Hall, Fusco and Ticotin bring this all off without seeming to even wind up. It just happens. It’s the high point of a fine production, but even better, it haunts every joyful moment after it with real fear.\u003c/p>\n\u003cp>\u003cstrong>Shotgun Players’ production of Aphra Behn’s \u003cem>The Rover\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Real fear also courses through the Shotgun Players’ production of Aphra Behn’s Restoration comedy, \u003cem>The Rover\u003c/em>. Set in Naples during carnival season, it’s a fast, sharp farce with a nasty, vicious edge, dexterously directed by M. Graham Smith with a brilliant sound design by Theodore J.H. Hulsker. At times it’s hard to tell what brings the characters more pleasure: love or inflicting pain. It’s a toss up for the audience, too.\u003c/p>\n\u003cfigure id=\"attachment_11041096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11041096 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/8-800x533.jpg\" alt=\"The Rover\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/8.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(from right to left) Wilmore (Jeremy Kahn) and Hellena (Caitlyn Louchard) find joy as Don Pedro (Dan Saski) looks on in ‘The Rover’ at the Ashby Stage. (Photo: Pak Han)\u003c/figcaption>\u003c/figure>\n\u003cp>Well, come on, not really.\u003c/p>\n\u003cp>We might root for the central couple, good Florinda and her steadfast Captain Belvile. But it’s the rover, Captain Wilmore, who intrigues. And not just us, but also Florinda’s sister, Hellena, scrapping life in the convent for a different kind of God. That this God’s a sick dick — that he mistakenly tries to rape his good friend’s fiancée, seduces a wily and experienced courtesan to the point of despair, and whose only redeeming feature is an animal’s ability to survive — well, that’s the type of joy you get in Restoration Comedy. But what a pleasure Wilmore the rover is, and Jeremy Kahn’s performance catches this demi-god in all his sleazy wonder.\u003c/p>\n\u003cp>In its season of women playwrights, Shotgun seems concerned with selling Behn’s feminist credentials, and she was a woman ahead of her time. But she was also an artist \u003cem>of\u003c/em> her time and the Restoration playwrights (Behn, Congreve, Sheridan, Farquhar) understood that most people are corrupt. And so she comes to a disturbing conclusion about joy: In Behn’s world, you must learn to forget every kind of injustice if you want any kind of happiness. That’s joy with an undertow, which is where it belongs, submerged and gasping for air.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Ghost Quartet\u003c/em> runs through October 31, 2015 at the Curran Theater in San Francisco. For tickets and information visit \u003ca href=\"http://www.sfcurran.com\">www.sfcurran.com\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Ah, Wilderness!\u003c/em> runs through November 8, 2015 at the Geary Theater in San Francisco. For tickets and information visit \u003ca href=\"http://www.act-sf.org\">http://www.act-sf.org\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Rover\u003c/em> runs through November 15, 2015 at the Ashby Theater in Berkeley. For tickets and information visit \u003ca href=\"http://www.shotgunplayers.org\">www.shotgunplayers.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11040991/theater-junkie-what-do-joy-division-and-eugene-oneill-have-in-common",
"authors": [
"8668"
],
"categories": [
"arts_69",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11041093",
"label": "arts"
},
"arts_11042062": {
"type": "posts",
"id": "arts_11042062",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11042062",
"score": null,
"sort": [
1446156057000
]
},
"guestAuthors": [],
"slug": "marga-gomez-blames-the-movies-for-her-celibacy",
"title": "Marga Gomez Blames the Movies for her Celibacy",
"publishDate": 1446156057,
"format": "standard",
"headTitle": "Marga Gomez Blames the Movies for her Celibacy | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>San Francisco comedian \u003ca href=\"http://www.margagomez.com/\" target=\"_blank\" rel=\"noopener\">Marga Gomez \u003c/a>knows how to find the funny bone of sex.\u003c/p>\n\u003cp>Gomez developed her latest solo show, \u003ca href=\"http://www.brava.org/current-shows/current-shows/pound/#.VjGNfberSJA\" target=\"_blank\" rel=\"noopener\">\u003cem>Pound\u003c/em>,\u003c/a> at \u003ca href=\"http://dixonplace.org/\" target=\"_blank\" rel=\"noopener\">Dixon Place\u003c/a> in New York City, and has now brought it back to her home here in San Francisco, where \u003cem>Pound \u003c/em>plays at the \u003ca href=\"http://www.brava.org/\" target=\"_blank\" rel=\"noopener\">Brava Theater Center\u003c/a> through Nov. 15th. The production explores what happens when a mysterious gynecologist diagnoses Gomez with a condition known as “unplanned celibacy,” and she’s forced to confront a notorious lesbian movie character she grew up with to resolve her ailment.\u003c/p>\n\u003cp>\u003cstrong>You’re Puerto Rican, Cuban and lesbian. But you say in the show you’re not into labels. So who are you in \u003cem>Pound\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Well I’m pretty much celibate right now, which sounds like “I’m a little bit pregnant.” But as I was writing this show about lesbian desire in the movies, I started using my own situation, and also started blaming these dysfunctional lesbian movie characters for my celibacy, my lack of physical connection with another person.\u003c/p>\n\u003cp>\u003cstrong>Right: Lesbians on film don’t often have good fates, and that’s one of your themes.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As just one example, in \u003cem>Pound\u003c/em> I appear in the show as Marga Gomez, and I introduce myself as one of the actresses in \u003ca href=\"http://www.imdb.com/title/tt0120184/?ref_=nm_flmg_act_4\" target=\"_blank\" rel=\"noopener\">\u003cem>Sphere\u003c/em>,\u003c/a> a Warner Brothers movie from 1997, where I played a computer expert manning an underwater biosphere with one other character, played by Queen Latifah. I mention that both of our characters are attacked by sea creatures and we die in the first thirty minutes, because they always kill the lesbians of color first.\u003c/p>\n\u003cp>But all the lesbians in the films that I grew up with are shadowy figures. In \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Children%27s_Hour_(film)\" target=\"_blank\" rel=\"noopener\">The Children’s Hour\u003c/a>\u003c/em>, Shirley MacLaine played a character where at the end when she confesses her love to her best friend and is rebuffed, she goes off and hangs herself. And there was another movie called \u003ca href=\"https://en.wikipedia.org/wiki/The_Fox_(1967_film)\" target=\"_blank\" rel=\"noopener\">\u003cem>The Fox\u003c/em> \u003c/a>that starred Sandy Dennis from 1967. She’s killed by a tree.\u003c/p>\n\u003cp>\u003cstrong>Yet you’re a successful lesbian comedian. You have somehow survived.\u003c/strong>\u003c/p>\n\u003cp>Yes, I have become a lesbian despite what Hollywood taught us. Yet it has influenced my dating life, because I’ve always kind of gone for drama and dysfunction in my partners. And I feel most passionate when I’m being done wrong. But I’m changing all that. With these solo shows I save the money on therapy and I work it out on stage. So I think I show what not to do: Don’t follow these terrible plot lines that were given us by the mainstream and not by our own tribe.\u003c/p>\n\u003cp>\u003cstrong>One of your themes is that lesbians are hot. \u003c/strong>\u003c/p>\n\u003cp>Well, there’s nothing in my show that’s sexy or a turn-on. I’m wearing a giant plaid shirt, and these big combat boots and shorts, and I go through all these reenactments of sexy scenes from movies. But look at me I’m like a plaid shirted lesbian clown.\u003c/p>\n\u003cp>\u003cstrong>Why is sex so funny?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first thing is because sex does not separate us from the animals. So we have to laugh at our selves because we spend our days as cerebral beings. But when it comes to sex, we write songs, and we try to make it elegant and sophisticated, but when it comes down to it, we’re just grunting little animals trying to carry on our species. And it never changes. There’s no app for it. It’s kind of like passing gas. It’s hilarious, when you hang out with your friends and you’re drinking, there’s nothing funnier. So these are the things that keep us real.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Puerto Rican, lesbian comedian looks to 'Sphere' and 'The Children's Hour' for an explanation.",
"status": "publish",
"parent": 0,
"modified": 1726771368,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 663
},
"headData": {
"title": "Marga Gomez Blames the Movies for her Celibacy | KQED",
"description": "The Puerto Rican, lesbian comedian looks to 'Sphere' and 'The Children's Hour' for an explanation.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Marga Gomez Blames the Movies for her Celibacy",
"datePublished": "2015-10-29T15:00:57-07:00",
"dateModified": "2024-09-19T11:42:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11042062/marga-gomez-blames-the-movies-for-her-celibacy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco comedian \u003ca href=\"http://www.margagomez.com/\" target=\"_blank\" rel=\"noopener\">Marga Gomez \u003c/a>knows how to find the funny bone of sex.\u003c/p>\n\u003cp>Gomez developed her latest solo show, \u003ca href=\"http://www.brava.org/current-shows/current-shows/pound/#.VjGNfberSJA\" target=\"_blank\" rel=\"noopener\">\u003cem>Pound\u003c/em>,\u003c/a> at \u003ca href=\"http://dixonplace.org/\" target=\"_blank\" rel=\"noopener\">Dixon Place\u003c/a> in New York City, and has now brought it back to her home here in San Francisco, where \u003cem>Pound \u003c/em>plays at the \u003ca href=\"http://www.brava.org/\" target=\"_blank\" rel=\"noopener\">Brava Theater Center\u003c/a> through Nov. 15th. The production explores what happens when a mysterious gynecologist diagnoses Gomez with a condition known as “unplanned celibacy,” and she’s forced to confront a notorious lesbian movie character she grew up with to resolve her ailment.\u003c/p>\n\u003cp>\u003cstrong>You’re Puerto Rican, Cuban and lesbian. But you say in the show you’re not into labels. So who are you in \u003cem>Pound\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Well I’m pretty much celibate right now, which sounds like “I’m a little bit pregnant.” But as I was writing this show about lesbian desire in the movies, I started using my own situation, and also started blaming these dysfunctional lesbian movie characters for my celibacy, my lack of physical connection with another person.\u003c/p>\n\u003cp>\u003cstrong>Right: Lesbians on film don’t often have good fates, and that’s one of your themes.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As just one example, in \u003cem>Pound\u003c/em> I appear in the show as Marga Gomez, and I introduce myself as one of the actresses in \u003ca href=\"http://www.imdb.com/title/tt0120184/?ref_=nm_flmg_act_4\" target=\"_blank\" rel=\"noopener\">\u003cem>Sphere\u003c/em>,\u003c/a> a Warner Brothers movie from 1997, where I played a computer expert manning an underwater biosphere with one other character, played by Queen Latifah. I mention that both of our characters are attacked by sea creatures and we die in the first thirty minutes, because they always kill the lesbians of color first.\u003c/p>\n\u003cp>But all the lesbians in the films that I grew up with are shadowy figures. In \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Children%27s_Hour_(film)\" target=\"_blank\" rel=\"noopener\">The Children’s Hour\u003c/a>\u003c/em>, Shirley MacLaine played a character where at the end when she confesses her love to her best friend and is rebuffed, she goes off and hangs herself. And there was another movie called \u003ca href=\"https://en.wikipedia.org/wiki/The_Fox_(1967_film)\" target=\"_blank\" rel=\"noopener\">\u003cem>The Fox\u003c/em> \u003c/a>that starred Sandy Dennis from 1967. She’s killed by a tree.\u003c/p>\n\u003cp>\u003cstrong>Yet you’re a successful lesbian comedian. You have somehow survived.\u003c/strong>\u003c/p>\n\u003cp>Yes, I have become a lesbian despite what Hollywood taught us. Yet it has influenced my dating life, because I’ve always kind of gone for drama and dysfunction in my partners. And I feel most passionate when I’m being done wrong. But I’m changing all that. With these solo shows I save the money on therapy and I work it out on stage. So I think I show what not to do: Don’t follow these terrible plot lines that were given us by the mainstream and not by our own tribe.\u003c/p>\n\u003cp>\u003cstrong>One of your themes is that lesbians are hot. \u003c/strong>\u003c/p>\n\u003cp>Well, there’s nothing in my show that’s sexy or a turn-on. I’m wearing a giant plaid shirt, and these big combat boots and shorts, and I go through all these reenactments of sexy scenes from movies. But look at me I’m like a plaid shirted lesbian clown.\u003c/p>\n\u003cp>\u003cstrong>Why is sex so funny?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first thing is because sex does not separate us from the animals. So we have to laugh at our selves because we spend our days as cerebral beings. But when it comes to sex, we write songs, and we try to make it elegant and sophisticated, but when it comes down to it, we’re just grunting little animals trying to carry on our species. And it never changes. There’s no app for it. It’s kind of like passing gas. It’s hilarious, when you hang out with your friends and you’re drinking, there’s nothing funnier. So these are the things that keep us real.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11042062/marga-gomez-blames-the-movies-for-her-celibacy",
"authors": [
"32"
],
"categories": [
"arts_968",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_989"
],
"featImg": "arts_11042061",
"label": "arts"
},
"arts_11015827": {
"type": "posts",
"id": "arts_11015827",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11015827",
"score": null,
"sort": [
1445094047000
]
},
"guestAuthors": [],
"slug": "dawn-roth-golden-proves-that-props-are-more-complicated-than-you-think",
"title": "Dawn Roth-Golden Proves That Props are More Complicated Than You Think",
"publishDate": 1445094047,
"format": "standard",
"headTitle": "Dawn Roth-Golden Proves That Props are More Complicated Than You Think | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The backstage area at San Francisco’s War Memorial Opera House is exactly as cool as you’d think. Everything here is tilted, huge, or floodlit, and the roof is invisible.\u003c/p>\n\u003cp>Dawn Roth-Golden is walking coolly across the stage. Of the Opera House. It’s clearly her accustomed habitat, and she obviously knows where she’s going and why, but it’s still the stage of the Opera House.\u003c/p>\n\u003cp>“If a handkerchief begins a scene in the pocket of a performer’s costume,” she explains, “and they walk onstage, drop it, and leave without it, then that handkerchief is wardrobe.” I gather my forces and follow; she’s explaining her job as a craftsperson in the props department here, where she has worked on and off for 19 years, and where, she says, it’s her joy to actually build things, to construct and sometimes design them from nothing. “On the other hand,” she continues, “if the handkerchief begins the scene onstage, and the performer walks out, picks it up, and leaves the stage holding it, then it’s a prop.”\u003c/p>\n\u003cp>And if it’s a prop, then Dawn Roth-Golden probably made it herself.\u003c/p>\n\u003cfigure id=\"attachment_11015916\" class=\"wp-caption alignright\" style=\"max-width: 397px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DAWNMoscone.jpg\" alt=\"Dawn at work at the Moscone Center. \" width=\"397\" height=\"387\" class=\"size-full wp-image-11015916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DAWNMoscone.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DAWNMoscone-32x32.jpg 32w\" sizes=\"(max-width: 397px) 100vw, 397px\">\u003cfigcaption class=\"wp-caption-text\">Dawn at work at the Moscone Center.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, as she leads me up stairways and into so many elevators and warrens of offices and workshops that I lose any sense of direction, she motions me over to a railing. We look down onto the world-class stage we’d just been standing on, partially set for the current production of \u003cem>Lucia di Lammermoor\u003c/em>. “So we’re on the 2-F shelf right now. The ‘F’ stands for fly-floor, so there’s 2-F, 3-F, 4-F, and then ‘the grid’ is above there.” She points up, and we can see curtains, screens, pipes, and wires, going up higher than the eye can track. Roth-Golden tells me the larger pipes hold electrical wires, and the smaller ones hoist both scenery and the drapes that create the proscenium. “They create the depth,” she says. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roth-Golden has the kind of energy so many theater people share — she’s visibly strong, and capable to a near-intimidating degree. You know instinctually not to make a mistake around her, because if you do, she’ll read it back to you, fast. But as with all the other people we meet — stage electricians, woodworkers, video editors, stagehands, grips — she’s also battened-down calm. You may depend on her. Always. \u003c/p>\n\u003cp>“So mainly I do a lot of the soft works, like I did all of that bedding,” she says, pointing to a giant set piece identifiable only by the outsized “pillows” at one end. It’s big enough to be a little frightening, like a dream or a nightmare of a bed, very white. “And I upholstered that sofa.” The sofa is a black leather construction, square and mod. From the side, you can see its skeleton is askew, as if it had been blown or pushed backward. The stage is raked, so in order for people to actually be able to sit on the sofa and sing, it had to be made custom. Same goes for the matching metal-frame desk, and chairs, and lamp. From the front, it looks like expensive designer furniture. \u003c/p>\n\u003cfigure id=\"attachment_11015917\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DawnDRAGON.jpg\" alt=\"Roth-Golden is currently reworking this dragon skin -- which she designed and crafted -- for an upcoming production of 'The Magic Flute' with production design by Jun Kaneko.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11015917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDRAGON.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDRAGON-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Roth-Golden is currently reworking this dragon skin — which she designed and crafted — for an upcoming production of ‘The Magic Flute’ with production design by Jun Kaneko.\u003c/figcaption>\u003c/figure>\n\u003cp>Roth-Golden eyes the sofa as we pass, and leans over to smooth an imperceptible puffiness. It’s supposed to be flatter across the front, apparently. And the row of covered buttons on the bottom cushion — they ought to have been two inches further back to be really authentic, she says. I literally can’t see what she’s talking about and I’m standing right next to her.\u003c/p>\n\u003cp>I wonder about the longevity of her tenure here, and she immediately brightens to talk about her union. From her earliest involvement in theater — she went to junior colleges, worked with Luis Valdez’ El Teatro Campesino, and spent many “we did everything ourselves” years with Thunderbird Theatre here in San Francisco — she says she always knew that to consider herself a professional was to move up and into a union job. “What I love about I.A.T.S.E., and Local 16 especially, is that it’s so apprentice-based. You spend many years going through an apprentice program, where you learn about sound, you learn about rigging, you revisit a lot of mathematics that you in high school swore you would never use again, but then find yourself using on a daily basis.” \u003c/p>\n\u003cfigure id=\"attachment_11015918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DawnDOGOOD.jpg\" alt='In addition to her prop-department work, Roth-Golden also stage-manages with the \"great events for a greater good\" company Do Good Events.' width=\"800\" height=\"533\" class=\"size-full wp-image-11015918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDOGOOD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDOGOOD-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In addition to her prop-department work, Roth-Golden also stage-manages with the “great events for a greater good” company Do Good Events.\u003c/figcaption>\u003c/figure>\n\u003cp>As we tour the craft shop, where Roth-Golden’s colleague Sarah Shores is using rainbow-colored children’s tunnel-toys to make a two-headed snake/dragon, my host’s walkie-talkie crackles: “Hello Props. Is there anybody free upstairs that can come hang on the deck? The Patch is a beehive of activity; we’re needing magneting and sweeping.” \u003c/p>\n\u003cp>Roth-Golden responds instantly, cutting herself off mid-sentence. “I got it. I’ll do it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She turns to me, smiling. I don’t know what magneting is, but it’s something she thinks is going to be fun. “Copy that,” she tells the machine. \u003c/p>\n\n",
"blocks": [],
"excerpt": "Who helps make and manage the props for San Francisco Opera's productions -- and understands the technical and mathematical challenges of the behind-the-scenes job? Dawn Roth-Golden, that's who.",
"status": "publish",
"parent": 0,
"modified": 1726702290,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 986
},
"headData": {
"title": "Dawn Roth-Golden Proves That Props are More Complicated Than You Think | KQED",
"description": "Who helps make and manage the props for San Francisco Opera's productions -- and understands the technical and mathematical challenges of the behind-the-scenes job? Dawn Roth-Golden, that's who.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dawn Roth-Golden Proves That Props are More Complicated Than You Think",
"datePublished": "2015-10-17T08:00:47-07:00",
"dateModified": "2024-09-18T16:31:30-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11015827/dawn-roth-golden-proves-that-props-are-more-complicated-than-you-think",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The backstage area at San Francisco’s War Memorial Opera House is exactly as cool as you’d think. Everything here is tilted, huge, or floodlit, and the roof is invisible.\u003c/p>\n\u003cp>Dawn Roth-Golden is walking coolly across the stage. Of the Opera House. It’s clearly her accustomed habitat, and she obviously knows where she’s going and why, but it’s still the stage of the Opera House.\u003c/p>\n\u003cp>“If a handkerchief begins a scene in the pocket of a performer’s costume,” she explains, “and they walk onstage, drop it, and leave without it, then that handkerchief is wardrobe.” I gather my forces and follow; she’s explaining her job as a craftsperson in the props department here, where she has worked on and off for 19 years, and where, she says, it’s her joy to actually build things, to construct and sometimes design them from nothing. “On the other hand,” she continues, “if the handkerchief begins the scene onstage, and the performer walks out, picks it up, and leaves the stage holding it, then it’s a prop.”\u003c/p>\n\u003cp>And if it’s a prop, then Dawn Roth-Golden probably made it herself.\u003c/p>\n\u003cfigure id=\"attachment_11015916\" class=\"wp-caption alignright\" style=\"max-width: 397px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DAWNMoscone.jpg\" alt=\"Dawn at work at the Moscone Center. \" width=\"397\" height=\"387\" class=\"size-full wp-image-11015916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DAWNMoscone.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DAWNMoscone-32x32.jpg 32w\" sizes=\"(max-width: 397px) 100vw, 397px\">\u003cfigcaption class=\"wp-caption-text\">Dawn at work at the Moscone Center.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, as she leads me up stairways and into so many elevators and warrens of offices and workshops that I lose any sense of direction, she motions me over to a railing. We look down onto the world-class stage we’d just been standing on, partially set for the current production of \u003cem>Lucia di Lammermoor\u003c/em>. “So we’re on the 2-F shelf right now. The ‘F’ stands for fly-floor, so there’s 2-F, 3-F, 4-F, and then ‘the grid’ is above there.” She points up, and we can see curtains, screens, pipes, and wires, going up higher than the eye can track. Roth-Golden tells me the larger pipes hold electrical wires, and the smaller ones hoist both scenery and the drapes that create the proscenium. “They create the depth,” she says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Roth-Golden has the kind of energy so many theater people share — she’s visibly strong, and capable to a near-intimidating degree. You know instinctually not to make a mistake around her, because if you do, she’ll read it back to you, fast. But as with all the other people we meet — stage electricians, woodworkers, video editors, stagehands, grips — she’s also battened-down calm. You may depend on her. Always. \u003c/p>\n\u003cp>“So mainly I do a lot of the soft works, like I did all of that bedding,” she says, pointing to a giant set piece identifiable only by the outsized “pillows” at one end. It’s big enough to be a little frightening, like a dream or a nightmare of a bed, very white. “And I upholstered that sofa.” The sofa is a black leather construction, square and mod. From the side, you can see its skeleton is askew, as if it had been blown or pushed backward. The stage is raked, so in order for people to actually be able to sit on the sofa and sing, it had to be made custom. Same goes for the matching metal-frame desk, and chairs, and lamp. From the front, it looks like expensive designer furniture. \u003c/p>\n\u003cfigure id=\"attachment_11015917\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DawnDRAGON.jpg\" alt=\"Roth-Golden is currently reworking this dragon skin -- which she designed and crafted -- for an upcoming production of 'The Magic Flute' with production design by Jun Kaneko.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11015917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDRAGON.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDRAGON-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Roth-Golden is currently reworking this dragon skin — which she designed and crafted — for an upcoming production of ‘The Magic Flute’ with production design by Jun Kaneko.\u003c/figcaption>\u003c/figure>\n\u003cp>Roth-Golden eyes the sofa as we pass, and leans over to smooth an imperceptible puffiness. It’s supposed to be flatter across the front, apparently. And the row of covered buttons on the bottom cushion — they ought to have been two inches further back to be really authentic, she says. I literally can’t see what she’s talking about and I’m standing right next to her.\u003c/p>\n\u003cp>I wonder about the longevity of her tenure here, and she immediately brightens to talk about her union. From her earliest involvement in theater — she went to junior colleges, worked with Luis Valdez’ El Teatro Campesino, and spent many “we did everything ourselves” years with Thunderbird Theatre here in San Francisco — she says she always knew that to consider herself a professional was to move up and into a union job. “What I love about I.A.T.S.E., and Local 16 especially, is that it’s so apprentice-based. You spend many years going through an apprentice program, where you learn about sound, you learn about rigging, you revisit a lot of mathematics that you in high school swore you would never use again, but then find yourself using on a daily basis.” \u003c/p>\n\u003cfigure id=\"attachment_11015918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DawnDOGOOD.jpg\" alt='In addition to her prop-department work, Roth-Golden also stage-manages with the \"great events for a greater good\" company Do Good Events.' width=\"800\" height=\"533\" class=\"size-full wp-image-11015918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDOGOOD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DawnDOGOOD-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In addition to her prop-department work, Roth-Golden also stage-manages with the “great events for a greater good” company Do Good Events.\u003c/figcaption>\u003c/figure>\n\u003cp>As we tour the craft shop, where Roth-Golden’s colleague Sarah Shores is using rainbow-colored children’s tunnel-toys to make a two-headed snake/dragon, my host’s walkie-talkie crackles: “Hello Props. Is there anybody free upstairs that can come hang on the deck? The Patch is a beehive of activity; we’re needing magneting and sweeping.” \u003c/p>\n\u003cp>Roth-Golden responds instantly, cutting herself off mid-sentence. “I got it. I’ll do it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She turns to me, smiling. I don’t know what magneting is, but it’s something she thinks is going to be fun. “Copy that,” she tells the machine. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11015827/dawn-roth-golden-proves-that-props-are-more-complicated-than-you-think",
"authors": [
"8641"
],
"categories": [
"arts_69",
"arts_967"
],
"tags": [
"arts_1205",
"arts_1118",
"arts_596"
],
"featImg": "arts_11015915",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"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/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"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",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"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.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=theater": {
"isFetching": false,
"latestQuery": {
"from": 780,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 983,
"relation": "eq"
},
"items": [
"arts_11104332",
"arts_11097055",
"arts_11094088",
"arts_11089216",
"arts_11084011",
"arts_11074111",
"arts_11036745",
"arts_11070280",
"arts_11059814",
"arts_11040991",
"arts_11042062",
"arts_11015827"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_theater": {
"isLoading": true
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_1205": {
"type": "terms",
"id": "arts_1205",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1205",
"found": true
},
"relationships": {},
"featImg": null,
"name": "backstage heroes",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "backstage heroes Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1217,
"slug": "backstage-heroes",
"isLoading": false,
"link": "/arts/tag/backstage-heroes"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
}
}
