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"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",
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"headline": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More",
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"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>",
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"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>",
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"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>",
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"title": "Theater Junkie: Rude Mechs' 'The Method Gun' Hits its Target",
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"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",
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"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>",
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"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>",
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"title": "Oakland Kids Make Opera Based on 'Amazing Grace' Children's Book Series",
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"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",
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"excerpt": "Saint Martin de Porres Catholic School students work with SF's Opera Parallèle on staging an adaptation of Mary Hammond's popular story.",
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"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>",
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"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>",
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"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",
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"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>",
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"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>",
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"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",
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"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>",
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"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>",
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"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",
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"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>",
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"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>",
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"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",
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"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>",
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"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>",
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"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",
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"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>",
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"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>",
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"title": "Cy & David's Picks: Treasure Island, Modern Hula, and Twyla's 50th",
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"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/2015/10/TDL20151015.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Oct. 17–18\u003c/strong>: The \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>. Tucked in the middle of the Bay with stellar views, this year’s electronic and indie festival includes Chvrches, Deadmau5, FKA Twigs, Father John Misty, Big Grams and many, many others on two stages. New this year is a comedy lineup, while attendees still get to the island the same way they always have — from a free shuttle departing from SF. This is truly one of the Bay Area’s annual gems. \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–18\u003c/strong>: \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Twyla Tharp 50th Anniversary Tour\u003c/a>. There aren’t very many figures that have had as much influence on modern dance as Tharp, and it’s hard to believe she founded her company 50 years ago — especially considering her use of progressive contemporary music from the likes of John Zorn, Henry Butler and Steven Bernstein. Three shows at Zellerbach Auditorium are poised to show why the \u003cem>New York Times\u003c/em> calls her “the queen of mixing vernacular dance and classical ballet.” \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 18\u003c/strong>: \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Paul Jacobs and Christine Brewer with the San Francisco Symphony\u003c/a>. An operatic soprano and a classical organist may seem like strange bedfellows, but then, this is Paul Jacobs and Christine Brewer we’re talking about here. Brewer, for her part, was the obvious replacement in 2006 when Renée Fleming had to call out sick at Festival del Solé, in Yountville; Jacobs has been one of the finest players of the organ in recent memory. The program includes Bach, Franck, Puccini, Reger, Boulanger, Handel and more. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17–25\u003c/strong>: \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Na Lei Hulu I Ka Wekiu 30th Anniversary\u003c/a>. Patrick Makuakāne founded this dance company 30 years ago on the foundation of innovative choreography and musical choices, and has even led hula dances to the sounds of Lady Gaga. Citing hip-hop dance as a major inspiration, Makuakāne draws from past traditions while innovating the hula form for future generations. \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–Dec. 20\u003c/strong>: the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Pirates of Penzance\u003c/a>. Berkeley Rep stages this adaptation of Gilbert & Sullivan’s classic by the Hypocrites, a band of rebels from Chicago, who dethrone the masterwork with a sliver of snark and an abundance of skill. Banjos, beach balls, and guitars all come into play in this adaptation, which is the very model of a modern major musical. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 16\u003c/strong>: \u003ca href=\"http://www.gunbun.com/calendar\" target=\"_blank\" rel=\"noopener\">Fuzz and Mudhoney\u003c/a>. Ty Seagall’s “side project” has managed to achieve the momentum of any regular band, owing to the prolific nature of Seagall — who left SF for Los Angeles when the going got tough and the rents got high. His departure has only made him more active musically, though, and his presence behind the drum kit on this show in a 100-year-old-barn is hardly the highlight when Sub Pop’s finest “Touch Me I’m Sick” purveyors headline. \u003ca href=\"http://www.gunbun.com/calendar\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Oct. 17–18\u003c/strong>: The \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>. Tucked in the middle of the Bay with stellar views, this year’s electronic and indie festival includes Chvrches, Deadmau5, FKA Twigs, Father John Misty, Big Grams and many, many others on two stages. New this year is a comedy lineup, while attendees still get to the island the same way they always have — from a free shuttle departing from SF. This is truly one of the Bay Area’s annual gems. \u003ca href=\"http://treasureislandfestival.com/2015/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–18\u003c/strong>: \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Twyla Tharp 50th Anniversary Tour\u003c/a>. There aren’t very many figures that have had as much influence on modern dance as Tharp, and it’s hard to believe she founded her company 50 years ago — especially considering her use of progressive contemporary music from the likes of John Zorn, Henry Butler and Steven Bernstein. Three shows at Zellerbach Auditorium are poised to show why the \u003cem>New York Times\u003c/em> calls her “the queen of mixing vernacular dance and classical ballet.” \u003ca href=\"http://calperformances.org/performances/2015-16/dance/twyla-tharp-50th-anniversary.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 18\u003c/strong>: \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Paul Jacobs and Christine Brewer with the San Francisco Symphony\u003c/a>. An operatic soprano and a classical organist may seem like strange bedfellows, but then, this is Paul Jacobs and Christine Brewer we’re talking about here. Brewer, for her part, was the obvious replacement in 2006 when Renée Fleming had to call out sick at Festival del Solé, in Yountville; Jacobs has been one of the finest players of the organ in recent memory. The program includes Bach, Franck, Puccini, Reger, Boulanger, Handel and more. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Paul-Jacobs-with-soprano-Christine-Brewer.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17–25\u003c/strong>: \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Na Lei Hulu I Ka Wekiu 30th Anniversary\u003c/a>. Patrick Makuakāne founded this dance company 30 years ago on the foundation of innovative choreography and musical choices, and has even led hula dances to the sounds of Lady Gaga. Citing hip-hop dance as a major inspiration, Makuakāne draws from past traditions while innovating the hula form for future generations. \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 16–Dec. 20\u003c/strong>: the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Pirates of Penzance\u003c/a>. Berkeley Rep stages this adaptation of Gilbert & Sullivan’s classic by the Hypocrites, a band of rebels from Chicago, who dethrone the masterwork with a sliver of snark and an abundance of skill. Banjos, beach balls, and guitars all come into play in this adaptation, which is the very model of a modern major musical. \u003ca href=\"http://www.berkeleyrep.org/season/1516/9310.asp\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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/2015/10/20151009tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Now through Feb. 7, 2016: \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">William Wegman: “Artists Including Me.”\u003c/a> \u003c/strong>Now credited with being one \u003cstrong>of the earliest web-based video artists, \u003c/strong>Wegman works also visual and verbal puns into his photos, paintings and drawings, never taking himself too seriously. \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9 – Sunday, Oct. 11: \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">Bread and Puppet Theater\u003c/a>. \u003c/strong>This eccentric, 50-year-old troupe embraces music, puppets and stilt-walkers, pageantry and politics. They perform twice in San Francisco this weekend; \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Patrick Watson\u003c/a>.\u003c/strong> The singer’s new \u003cem>Love Songs For Robots contains \u003c/em>lyrics both dark and whimsical, rock and roll, R&B and a “zest” of folk. \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Sparks and Franz Ferdinand.\u003c/a> \u003c/strong>See what happens when 40-year-old American band Sparks teams up with Scottish indie rockers Franz Ferdinand, after trading songs across the Atlantic. \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Litquake Presents Boots Riley\u003c/a>. \u003c/strong>The annual festival of all things literary kicks off Friday, Oct. 9, and there are more events than we could possibly list here. Tonight, the fest hosts one of the Bay Area’s most beloved (and controversial) hip-hop figures, reading his book \u003cem>Tell Homeland Security — We Are the Bomb. \u003c/em>Bonus: Panel featuring W. Kamau Bell. \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Now through Feb. 7, 2016: \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">William Wegman: “Artists Including Me.”\u003c/a> \u003c/strong>Now credited with being one \u003cstrong>of the earliest web-based video artists, \u003c/strong>Wegman works also visual and verbal puns into his photos, paintings and drawings, never taking himself too seriously. \u003ca href=\"http://sjmusart.org/exhibition/artists-including-me-william-wegman\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 9 – Sunday, Oct. 11: \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">Bread and Puppet Theater\u003c/a>. \u003c/strong>This eccentric, 50-year-old troupe embraces music, puppets and stilt-walkers, pageantry and politics. They perform twice in San Francisco this weekend; \u003ca href=\"http://breadandpuppet.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 11: \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Patrick Watson\u003c/a>.\u003c/strong> The singer’s new \u003cem>Love Songs For Robots contains \u003c/em>lyrics both dark and whimsical, rock and roll, R&B and a “zest” of folk. \u003ca href=\"http://www.theindependentsf.com/event/865123-patrick-watson-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Sparks and Franz Ferdinand.\u003c/a> \u003c/strong>See what happens when 40-year-old American band Sparks teams up with Scottish indie rockers Franz Ferdinand, after trading songs across the Atlantic. \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5150&KeepThis=true&\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Oct. 15: \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Litquake Presents Boots Riley\u003c/a>. \u003c/strong>The annual festival of all things literary kicks off Friday, Oct. 9, and there are more events than we could possibly list here. Tonight, the fest hosts one of the Bay Area’s most beloved (and controversial) hip-hop figures, reading his book \u003cem>Tell Homeland Security — We Are the Bomb. \u003c/em>Bonus: Panel featuring W. Kamau Bell. \u003ca href=\"http://www.litquake.org/events/boots-riley-tell-homeland-security%E2%80%94we-are-bomb\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The past is always a tricky deal in the American theater. Many have said this is because we are so young and have no history to speak of, or at least not enough distance in the rearview mirror to gain artistic force or vision. Yet, it’s hard to think of a country that is as swathed in myth as we are. Next to Coca-Cola and corn syrup, the mythic past is what America does best. Still, giving theatrical shape to that past is no easy task. Our theater is littered with thousands of turgid costume pageants, half-baked political screeds, overwrought nostalgia — everything but a historical conscious that is alive, dynamic, and dangerous.\u003c/p>\n\u003cp>In odd and interesting ways, \u003ca href=\"http://rayoflighttheatre.com/lizzie/\" target=\"_blank\" rel=\"noopener\">Ray of Light Theatre\u003c/a>, \u003ca href=\"http://www.custommade.org/youth/\" target=\"_blank\" rel=\"noopener\">Custom Made Theatre\u003c/a>, and the \u003ca href=\"http://magictheatre.org/season/freds-diner\" target=\"_blank\" rel=\"noopener\">Magic Theatre\u003c/a> are all currently runnning shows that attempt to catch history at the moment of conception. Not as it recedes into myth, but rather as it comes racing to life—you can barely wait for the havoc to begin. It’s a wonderful test for any theater company: here are the limits of your art, your country, and your history. So what are you going to do now? It turns out the story of the week in Bay Area theater is attempting to answer this question.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Doggerel verse becomes Greek tragedy in Ray of Light’s \u003cem>Lizzie\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10989350\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_7865-1-400x600.jpg\" alt=\"Lizzie (Elizabeth Curtis) gets ready to axe the parents in a musical at Ray of Light Theatre\" width=\"400\" height=\"600\" class=\"size-medium wp-image-10989350\">\u003cfigcaption class=\"wp-caption-text\">Lizzie (Elizabeth Curtis) gets ready to axe the parents in a musical at Ray of Light Theatre \u003ccite>(Photo: Nick Otto/Ray of Light Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A rock musical about Lizzie Borden is a bad idea. But there aren’t enough bad ideas in the theater these days, and it’s exactly its complete lack of promise and taste that makes Ray of Light’s production of the Steven Cheslik-DeMeyer, Tim Maner, Alan Stevens-Hewitt musical \u003cem>Lizzie\u003c/em> such a triumph. The whole enterprise just kind of slips into the past to see what terror felt like in 1892, and the results are strange and lovely.\u003c/p>\n\u003cp>The tale of America’s premiere axe-murderess is well known, its doggerel verse recounting a schoolyard favorite. It’s in the psyche and that’s where the musical’s creators keep it. They don’t bother with narrative, surprise endings, psychology, or– even worse –empathy and understanding. The pure force of myth combines with over-the-top rock theatrics to create a mating of the ridiculous with the ridiculous that somehow takes us close to the sublime.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s surprising is how subtle and touching Borden’s story and the rock musical become under these conditions. Despite its riot-grrrl façade, \u003cem>Lizzie\u003c/em> has a classical sense of form. The songs are not an intensification of feeling as they are in most musicals, but rather crucial to our understanding of the twists and turns of what we might initially think is a simple and well-known story. It’s rare for show tunes to require this much intellectual engagement, but every turn of phrase is a revelation. You know more, you feel more, and like Borden, you want to get closer to the abyss. Listen to her sing to pigeons in a barn loft—“The Soul of the White Bird”—and you’ll want to take her hand and gently place it on an axe.\u003c/p>\n\u003cp>The nimble “Shattercane and Velvet Grass,” sung during a chance encounter between Borden and her family’s maid, Bridget, illuminates how it easy it is to begin to think murder’s a swell idea. The song isn’t an explanation of Lizzie’s actions, but instead a demonstration of how a mind can slip into an idea, and how that slip leads to another slip, which leads to another, and another, and another, until: “Lizzie Borden with an axe/Gave her father forty wacks/When she saw what she had done/She gave her mother forty-one.” When I think of the tremendous scope of \u003cem>Lizzie\u003c/em>, it’s hard to believe that there are only four characters. But again, it’s closer to Sophocles than Nirvana, all the way down to the brutal off-stage murders.\u003c/p>\n\u003cp>\u003cstrong>Custom Made Theatre’s \u003cem>This is Our Youth: \u003c/em>a sly attempt at a present day historical drama\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10989353\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/you-want-a-present.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10989353 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/you-want-a-present-800x598.jpg\" alt=\"you want a present\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/you-want-a-present-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/you-want-a-present-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/you-want-a-present-1180x882.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/you-want-a-present-1920x1436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/you-want-a-present-960x718.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Warren (Sam Bertken) and Jessica (Katie Robbins) have a talk in Custom Made Theatre’s ‘This is Our Youth’. (Photo: Jay Yamada/Custom Made Theatre.)\u003c/figcaption>\u003c/figure>\n\u003cp>Kenneth Lonergan’s 1996 hit \u003cem>This is Our Youth\u003c/em> attempts something quite difficult: to catch the moment when one’s youth turns to stone and becomes a shining monument to our own irrelevance. He wants us see the past and the present at the same time and in the same person. Here, Lonergan says, is the exact second when our souls atrophy and history begins.\u003c/p>\n\u003cp>So, \u003cem>This is Our Youth\u003c/em> is very much an x-ray, an autopsy disguised as an episode of \u003cem>Gossip Girl\u003c/em>. The plot is pure soap: Warren steals $15,000 dollars from his dad and begs his high school pal and drug connection Dennis to crash at his pad. Dennis, always on the lookout for a deal, concocts a plan to score some cocaine, get high, resell what’s left, and make some profit before daddy discovers the loot is missing. Along the way, he’d like to get Warren laid, too. Enter the confused and available Jessica. Although this trio of amoral waifs is far from corrupt, their touch is vile and much more dangerous for their lack of awareness.\u003c/p>\n\u003cp>All this takes brio and precision to pull off and Custom Made’s production is far too tame to handle Lonergan’s caustic vision. The balance of the acting is crucial to the play. Sam Bertken and Katie Robbins are credible as Warren and Jessica. But as Dennis, David Raymond feels as if he’s acting a set of attributes rather than a character—being hyperactive is not the same as playing a hyperactive character. \u003cem>This is Our Youth\u003c/em> is a sly attempt at a present day historical drama. Its history is not the past, but rather the sacrificial act that was so crucial to the Greeks: the awful moment when you trade your innocence for a snort and a fuck.\u003c/p>\n\u003cp>\u003cstrong>‘Fred’s Diner’ at the Magic Theatre inverts historical logic\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10989355\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10989355 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather-1180x904.jpg\" alt=\"Freds-Fred-Heather\" width=\"640\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather-1180x904.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather-783x600.jpg 783w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather-960x735.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fred (Donald Sage Mackay) and Heather (Julia McNeal) in ‘Fred’s Diner’ at the Magic Theatre. (Photo: Jennifer Reiley/Magic Theatre).\u003c/figcaption>\u003c/figure>\n\u003cp>Right from the start, British dramatist Penelope Skinner’s \u003cem>Fred’s Diner\u003c/em> performs a nice inversion of historical logic. The majority of the play is set in a kitschy American-style diner off a motorway in England, beautifully realized in Erik Flatmo’s striking set at the Magic Theatre. What matters here is not the great English past of Oxford, Shakespeare, and a thousand sly witticisms, but a tawdry, ersatz Americana. The play imagines a brutal equation: if that debased vision of America was the world, if it obliterated the past and any hope of the future, what would it take to escape? It’s the type of question parents ask when their child grows up to be a criminal.\u003c/p>\n\u003cp>Skinner has talent and she takes risks throughout. The first act courts boredom in a daring way. Except for the brief opening scene, the play buries us in the mundane tasks of working in a diner. But the playwright understands that the everyday is more precarious than the unique. When Fred’s best waitress and adopted daughter, Melissa, applies to Oxford to study law, that simple step unleashes a beast more appropriate to American pulp than English refinement.\u003c/p>\n\u003cp>And that’s just what \u003cem>Fred’s Diner\u003c/em> needs, a good blast of cheap, American thrills. Skinner intends to shock, but her revelations feel like schoolroom exercises. And this is where \u003cem>Lizzie\u003c/em> is instructive. We know the story of Lizzie Borden. It’s planted in our souls. Yet, every moment of that show is surprising. It’s as if we unlearn the myth as we watch it. Here, Skinner withholds crucial aspects of the plot and we’ve got her figured out before she even starts.\u003c/p>\n\u003cp>As these productions show, representing American history is a realist’s nightmare. Our past is always of the moment. It slithers through Lizzie Borden’s Fall River, Massachusetts, to New York City’s haute bourgeois, and even back to a shabby English diner. Wherever it lands, its violence makes up for its youth. This is a country founded on ideas and those ideas have resisted history for 239 years. They will never be contained in costumes or facts, but must instead be fleetingly felt, like \u003cem>Lizzie \u003c/em>allows us, in a headlong rush to the abyss. That’s the dare for any theater company in America.\u003c/p>\n\u003cfigure id=\"attachment_10989435\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_7756.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10989435 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_7756.jpg\" alt=\"IMG_7756\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_7756.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_7756-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bridget, the Maid (Melissa Reinertson), Lizzie (Elizabeth Curtis), and Alice the Friend (Taylor Iman Jones) fall into the abyss in ‘Lizzie’ at Ray of Light Theatre. (Photo: Nick Otto/Ray of Light Theatre).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Lizzie\u003c/i> runs through October 17 at the Victoria Theater. For tickets and information visit \u003ca href=\"http://rayoflighttheatre.com/\" target=\"_blank\" rel=\"noopener\">rayoflighttheatre.com.\u003c/a>\u003c/p>\n\u003cp>\u003ci>This\u003c/i> \u003ci>is\u003c/i> \u003ci>Our\u003c/i> \u003ci>Youth\u003c/i> runs through October 17 in San Francisco. For tickets and information visit \u003ca href=\"http://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">custommade.org.\u003c/a>\u003c/p>\n\u003cp>\u003ci>Fred’s\u003c/i> \u003ci>Diner\u003c/i> runs through October 11 at the Magic Theatre in San Francisco. For tickets and information visit \u003ca href=\"http://magictheatre.org/\" target=\"_blank\" rel=\"noopener\">magictheatre.org.\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The past is always a tricky deal in the American theater. Many have said this is because we are so young and have no history to speak of, or at least not enough distance in the rearview mirror to gain artistic force or vision. Yet, it’s hard to think of a country that is as swathed in myth as we are. Next to Coca-Cola and corn syrup, the mythic past is what America does best. Still, giving theatrical shape to that past is no easy task. Our theater is littered with thousands of turgid costume pageants, half-baked political screeds, overwrought nostalgia — everything but a historical conscious that is alive, dynamic, and dangerous.\u003c/p>\n\u003cp>In odd and interesting ways, \u003ca href=\"http://rayoflighttheatre.com/lizzie/\" target=\"_blank\" rel=\"noopener\">Ray of Light Theatre\u003c/a>, \u003ca href=\"http://www.custommade.org/youth/\" target=\"_blank\" rel=\"noopener\">Custom Made Theatre\u003c/a>, and the \u003ca href=\"http://magictheatre.org/season/freds-diner\" target=\"_blank\" rel=\"noopener\">Magic Theatre\u003c/a> are all currently runnning shows that attempt to catch history at the moment of conception. Not as it recedes into myth, but rather as it comes racing to life—you can barely wait for the havoc to begin. It’s a wonderful test for any theater company: here are the limits of your art, your country, and your history. So what are you going to do now? It turns out the story of the week in Bay Area theater is attempting to answer this question.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Doggerel verse becomes Greek tragedy in Ray of Light’s \u003cem>Lizzie\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10989350\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_7865-1-400x600.jpg\" alt=\"Lizzie (Elizabeth Curtis) gets ready to axe the parents in a musical at Ray of Light Theatre\" width=\"400\" height=\"600\" class=\"size-medium wp-image-10989350\">\u003cfigcaption class=\"wp-caption-text\">Lizzie (Elizabeth Curtis) gets ready to axe the parents in a musical at Ray of Light Theatre \u003ccite>(Photo: Nick Otto/Ray of Light Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A rock musical about Lizzie Borden is a bad idea. But there aren’t enough bad ideas in the theater these days, and it’s exactly its complete lack of promise and taste that makes Ray of Light’s production of the Steven Cheslik-DeMeyer, Tim Maner, Alan Stevens-Hewitt musical \u003cem>Lizzie\u003c/em> such a triumph. The whole enterprise just kind of slips into the past to see what terror felt like in 1892, and the results are strange and lovely.\u003c/p>\n\u003cp>The tale of America’s premiere axe-murderess is well known, its doggerel verse recounting a schoolyard favorite. It’s in the psyche and that’s where the musical’s creators keep it. They don’t bother with narrative, surprise endings, psychology, or– even worse –empathy and understanding. The pure force of myth combines with over-the-top rock theatrics to create a mating of the ridiculous with the ridiculous that somehow takes us close to the sublime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s surprising is how subtle and touching Borden’s story and the rock musical become under these conditions. Despite its riot-grrrl façade, \u003cem>Lizzie\u003c/em> has a classical sense of form. The songs are not an intensification of feeling as they are in most musicals, but rather crucial to our understanding of the twists and turns of what we might initially think is a simple and well-known story. It’s rare for show tunes to require this much intellectual engagement, but every turn of phrase is a revelation. You know more, you feel more, and like Borden, you want to get closer to the abyss. Listen to her sing to pigeons in a barn loft—“The Soul of the White Bird”—and you’ll want to take her hand and gently place it on an axe.\u003c/p>\n\u003cp>The nimble “Shattercane and Velvet Grass,” sung during a chance encounter between Borden and her family’s maid, Bridget, illuminates how it easy it is to begin to think murder’s a swell idea. The song isn’t an explanation of Lizzie’s actions, but instead a demonstration of how a mind can slip into an idea, and how that slip leads to another slip, which leads to another, and another, and another, until: “Lizzie Borden with an axe/Gave her father forty wacks/When she saw what she had done/She gave her mother forty-one.” When I think of the tremendous scope of \u003cem>Lizzie\u003c/em>, it’s hard to believe that there are only four characters. But again, it’s closer to Sophocles than Nirvana, all the way down to the brutal off-stage murders.\u003c/p>\n\u003cp>\u003cstrong>Custom Made Theatre’s \u003cem>This is Our Youth: \u003c/em>a sly attempt at a present day historical drama\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10989353\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/you-want-a-present.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10989353 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/you-want-a-present-800x598.jpg\" alt=\"you want a present\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/you-want-a-present-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/you-want-a-present-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/you-want-a-present-1180x882.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/you-want-a-present-1920x1436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/you-want-a-present-960x718.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Warren (Sam Bertken) and Jessica (Katie Robbins) have a talk in Custom Made Theatre’s ‘This is Our Youth’. (Photo: Jay Yamada/Custom Made Theatre.)\u003c/figcaption>\u003c/figure>\n\u003cp>Kenneth Lonergan’s 1996 hit \u003cem>This is Our Youth\u003c/em> attempts something quite difficult: to catch the moment when one’s youth turns to stone and becomes a shining monument to our own irrelevance. He wants us see the past and the present at the same time and in the same person. Here, Lonergan says, is the exact second when our souls atrophy and history begins.\u003c/p>\n\u003cp>So, \u003cem>This is Our Youth\u003c/em> is very much an x-ray, an autopsy disguised as an episode of \u003cem>Gossip Girl\u003c/em>. The plot is pure soap: Warren steals $15,000 dollars from his dad and begs his high school pal and drug connection Dennis to crash at his pad. Dennis, always on the lookout for a deal, concocts a plan to score some cocaine, get high, resell what’s left, and make some profit before daddy discovers the loot is missing. Along the way, he’d like to get Warren laid, too. Enter the confused and available Jessica. Although this trio of amoral waifs is far from corrupt, their touch is vile and much more dangerous for their lack of awareness.\u003c/p>\n\u003cp>All this takes brio and precision to pull off and Custom Made’s production is far too tame to handle Lonergan’s caustic vision. The balance of the acting is crucial to the play. Sam Bertken and Katie Robbins are credible as Warren and Jessica. But as Dennis, David Raymond feels as if he’s acting a set of attributes rather than a character—being hyperactive is not the same as playing a hyperactive character. \u003cem>This is Our Youth\u003c/em> is a sly attempt at a present day historical drama. Its history is not the past, but rather the sacrificial act that was so crucial to the Greeks: the awful moment when you trade your innocence for a snort and a fuck.\u003c/p>\n\u003cp>\u003cstrong>‘Fred’s Diner’ at the Magic Theatre inverts historical logic\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10989355\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10989355 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather-1180x904.jpg\" alt=\"Freds-Fred-Heather\" width=\"640\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather-1180x904.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather-783x600.jpg 783w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather-960x735.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Freds-Fred-Heather.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fred (Donald Sage Mackay) and Heather (Julia McNeal) in ‘Fred’s Diner’ at the Magic Theatre. (Photo: Jennifer Reiley/Magic Theatre).\u003c/figcaption>\u003c/figure>\n\u003cp>Right from the start, British dramatist Penelope Skinner’s \u003cem>Fred’s Diner\u003c/em> performs a nice inversion of historical logic. The majority of the play is set in a kitschy American-style diner off a motorway in England, beautifully realized in Erik Flatmo’s striking set at the Magic Theatre. What matters here is not the great English past of Oxford, Shakespeare, and a thousand sly witticisms, but a tawdry, ersatz Americana. The play imagines a brutal equation: if that debased vision of America was the world, if it obliterated the past and any hope of the future, what would it take to escape? It’s the type of question parents ask when their child grows up to be a criminal.\u003c/p>\n\u003cp>Skinner has talent and she takes risks throughout. The first act courts boredom in a daring way. Except for the brief opening scene, the play buries us in the mundane tasks of working in a diner. But the playwright understands that the everyday is more precarious than the unique. When Fred’s best waitress and adopted daughter, Melissa, applies to Oxford to study law, that simple step unleashes a beast more appropriate to American pulp than English refinement.\u003c/p>\n\u003cp>And that’s just what \u003cem>Fred’s Diner\u003c/em> needs, a good blast of cheap, American thrills. Skinner intends to shock, but her revelations feel like schoolroom exercises. And this is where \u003cem>Lizzie\u003c/em> is instructive. We know the story of Lizzie Borden. It’s planted in our souls. Yet, every moment of that show is surprising. It’s as if we unlearn the myth as we watch it. Here, Skinner withholds crucial aspects of the plot and we’ve got her figured out before she even starts.\u003c/p>\n\u003cp>As these productions show, representing American history is a realist’s nightmare. Our past is always of the moment. It slithers through Lizzie Borden’s Fall River, Massachusetts, to New York City’s haute bourgeois, and even back to a shabby English diner. Wherever it lands, its violence makes up for its youth. This is a country founded on ideas and those ideas have resisted history for 239 years. They will never be contained in costumes or facts, but must instead be fleetingly felt, like \u003cem>Lizzie \u003c/em>allows us, in a headlong rush to the abyss. That’s the dare for any theater company in America.\u003c/p>\n\u003cfigure id=\"attachment_10989435\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_7756.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10989435 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/IMG_7756.jpg\" alt=\"IMG_7756\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_7756.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/IMG_7756-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bridget, the Maid (Melissa Reinertson), Lizzie (Elizabeth Curtis), and Alice the Friend (Taylor Iman Jones) fall into the abyss in ‘Lizzie’ at Ray of Light Theatre. (Photo: Nick Otto/Ray of Light Theatre).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Lizzie\u003c/i> runs through October 17 at the Victoria Theater. For tickets and information visit \u003ca href=\"http://rayoflighttheatre.com/\" target=\"_blank\" rel=\"noopener\">rayoflighttheatre.com.\u003c/a>\u003c/p>\n\u003cp>\u003ci>This\u003c/i> \u003ci>is\u003c/i> \u003ci>Our\u003c/i> \u003ci>Youth\u003c/i> runs through October 17 in San Francisco. For tickets and information visit \u003ca href=\"http://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">custommade.org.\u003c/a>\u003c/p>\n\u003cp>\u003ci>Fred’s\u003c/i> \u003ci>Diner\u003c/i> runs through October 11 at the Magic Theatre in San Francisco. For tickets and information visit \u003ca href=\"http://magictheatre.org/\" target=\"_blank\" rel=\"noopener\">magictheatre.org.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When it opened, \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> Artistic Director Carey Perloff promised to offer more experimental fare at the company’s new \u003ca href=\"http://www.act-sf.org/home/box_office/strand.html\" target=\"_blank\" rel=\"noopener\">Strand Theater \u003c/a>on Market Street. And it looks, at least, like she’s delivering.\u003c/p>\n\u003cp>The Strand season opens with \u003ci>Monstress,\u003c/i> two one-act plays of contemporary Filipino-American life in California, adapted from the short story collection of the same name by San Francisco author \u003ca href=\"http://lysleytenorio.com/\" target=\"_blank\" rel=\"noopener\">Lysley Tenorio\u003c/a>.\u003c/p>\n\u003cp>For the adaptations, Perloff tapped Filipino-American playwright, director and actor \u003ca href=\"http://tdps.berkeley.edu/people/sean-san-jose/\" target=\"_blank\" rel=\"noopener\">Sean San Jose\u003c/a>, and the Japanese-American playwright and UC Berkeley Theater Professor \u003ca href=\"http://www.philipkangotanda.com/\" target=\"_blank\" rel=\"noopener\">Philip Kan Gotanda\u003c/a>. They’ve freely adapted two of the stories, with Tenorio’s blessing, adding some unexpected songs and music to these immigrant tales.\u003c/p>\n\u003cp>Here’s an edited transcript of my conversations with San Jose and Gotanda about bringing Tenorio’s stories to life on the Strand stage.\u003c/p>\n\u003cp>\u003cstrong>Philip Kan Gotanda, how did you get involved in this project?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was contacted by Carey Perloff… she came across Lysley’s short stories and was taken by them. And I read them and thought they were wonderful. And I was immediately drawn to “Save the I-Hotel.”\u003c/p>\n\u003cp>\u003cstrong>That’s the story about a pair of elderly Filipino men living in San Francisco’s I-Hotel in the 1970’s, about their frustrated love affair and the protests that occurred when the building’s owner tried to evict all the hotel residents. So what drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>I lived through that era. I was going to law school at UC Hastings at the time. Many of the Filipino American students there were involved in that struggle. So it’s a live historical moment for me. And I grew up in Stockton, all my friends were Filipino-Americans. So I was familiar with the foods and the smells and the culture.\u003c/p>\n\u003cp>The people who were inhabiting the I-Hotel were very like my next door neighbors growing up in Stockton. So I felt immediately that I knew these two men . I could hear their voices. Which was a good sign for me if I was going to adapt them for the stage. And I told Carey this is the story I wanted to tell.\u003c/p>\n\u003cp>\u003cstrong>How do you go about adapting a short story into a one act play? What’s the process?\u003c/strong>\u003c/p>\n\u003cp>Well for me initially I have to have a connection to it. Then I’ll begin to feel there are certain moments that I can use those to anchor the story. In this particular story, it had to do with when the two older gentlemen were touching each other. When one was shaving the other, or helping him dress. And the key moment when there is a kiss. And for me, this is what the story is all about. It’s a love story. And so those intimate moments are the starting points, and then I grow the piece from there, and I fill in the beginning and the end.\u003c/p>\n\u003cp>\u003cstrong>Sean San Jose, you picked “Monstress,” the title story from Tenorio’s collection. That’s also a love story, about a schlock filmmaker in Manila and his girlfriend and muse, who he always casts as the monstress in the films they make, and how the two follow their dreams to Hollywood.\u003c/strong>\u003c/p>\n\u003cp>To me what was really thrilling is that it did this fabulous thing that Tenorio does in his writing, he’s able to take events and capture the essence of the events, and of a people — who we are as Filipinos.\u003c/p>\n\u003cp>So it has this beautiful sense of longing and romance and dreaming and fabulousness.\u003c/p>\n\u003cp>And meanwhile it really is veiled in this strange version of an immigration story. So to me the whole (short story) collection is variations on an immigration story. And while this one story is about film making and the lust to create, it’s also really about landing in a place, and what it’s like to have lost your dreams and lost your home or have no sense of home anywhere.\u003c/p>\n\u003cfigure id=\"attachment_10990248\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10990248\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1180x664.jpg\" alt=\"Playwright, actor, and director Sean San Jose \" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright, actor, and director Sean San Jose \u003ccite>(Courtesy Sean San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So how do you turn a story into a play?\u003c/strong>\u003c/p>\n\u003cp>For me it’s always finding what is the thing that lives out loud the most in the story. Sometimes that’s a narrative voice. Sometimes a writer writes with a lot of dialogue. So I immediately took to this idea of creating a community of people reliving what happened to these two lovers.\u003c/p>\n\u003cp>And there was something thrilling about the two pieces that Philip and I worked on… one is very interior (“Save the I-Hotel”) and one is very energetic and exterior (“Monstress”). And we could do them with the same company of actors, and the intention of a narrating choruses in both of them, shaping the two pieces to live as a twin bill together.\u003c/p>\n\u003cp>\u003cstrong>What do you make of this classic idea that “Monstress” explores of Hollywood as a place where dreams are made and broken.\u003c/strong>\u003c/p>\n\u003cp>Having heartache, romance and dreaming, and reality live side-by-side is very familiar to me and many immigrants.\u003c/p>\n\u003cp>What it reminded me of was how my mom and my aunties watched movies a lot — especially \u003cem>West Side Story\u003c/em>. We would watch it and we all knew what’s going to happen to Tony and Maria, and yet you hope for a happy ending all the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So a lot of times we retell our family histories, even though we know the ending might be sad. There’s something about the reliving and the romance of it, that appeals to me.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it opened, \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> Artistic Director Carey Perloff promised to offer more experimental fare at the company’s new \u003ca href=\"http://www.act-sf.org/home/box_office/strand.html\" target=\"_blank\" rel=\"noopener\">Strand Theater \u003c/a>on Market Street. And it looks, at least, like she’s delivering.\u003c/p>\n\u003cp>The Strand season opens with \u003ci>Monstress,\u003c/i> two one-act plays of contemporary Filipino-American life in California, adapted from the short story collection of the same name by San Francisco author \u003ca href=\"http://lysleytenorio.com/\" target=\"_blank\" rel=\"noopener\">Lysley Tenorio\u003c/a>.\u003c/p>\n\u003cp>For the adaptations, Perloff tapped Filipino-American playwright, director and actor \u003ca href=\"http://tdps.berkeley.edu/people/sean-san-jose/\" target=\"_blank\" rel=\"noopener\">Sean San Jose\u003c/a>, and the Japanese-American playwright and UC Berkeley Theater Professor \u003ca href=\"http://www.philipkangotanda.com/\" target=\"_blank\" rel=\"noopener\">Philip Kan Gotanda\u003c/a>. They’ve freely adapted two of the stories, with Tenorio’s blessing, adding some unexpected songs and music to these immigrant tales.\u003c/p>\n\u003cp>Here’s an edited transcript of my conversations with San Jose and Gotanda about bringing Tenorio’s stories to life on the Strand stage.\u003c/p>\n\u003cp>\u003cstrong>Philip Kan Gotanda, how did you get involved in this project?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was contacted by Carey Perloff… she came across Lysley’s short stories and was taken by them. And I read them and thought they were wonderful. And I was immediately drawn to “Save the I-Hotel.”\u003c/p>\n\u003cp>\u003cstrong>That’s the story about a pair of elderly Filipino men living in San Francisco’s I-Hotel in the 1970’s, about their frustrated love affair and the protests that occurred when the building’s owner tried to evict all the hotel residents. So what drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>I lived through that era. I was going to law school at UC Hastings at the time. Many of the Filipino American students there were involved in that struggle. So it’s a live historical moment for me. And I grew up in Stockton, all my friends were Filipino-Americans. So I was familiar with the foods and the smells and the culture.\u003c/p>\n\u003cp>The people who were inhabiting the I-Hotel were very like my next door neighbors growing up in Stockton. So I felt immediately that I knew these two men . I could hear their voices. Which was a good sign for me if I was going to adapt them for the stage. And I told Carey this is the story I wanted to tell.\u003c/p>\n\u003cp>\u003cstrong>How do you go about adapting a short story into a one act play? What’s the process?\u003c/strong>\u003c/p>\n\u003cp>Well for me initially I have to have a connection to it. Then I’ll begin to feel there are certain moments that I can use those to anchor the story. In this particular story, it had to do with when the two older gentlemen were touching each other. When one was shaving the other, or helping him dress. And the key moment when there is a kiss. And for me, this is what the story is all about. It’s a love story. And so those intimate moments are the starting points, and then I grow the piece from there, and I fill in the beginning and the end.\u003c/p>\n\u003cp>\u003cstrong>Sean San Jose, you picked “Monstress,” the title story from Tenorio’s collection. That’s also a love story, about a schlock filmmaker in Manila and his girlfriend and muse, who he always casts as the monstress in the films they make, and how the two follow their dreams to Hollywood.\u003c/strong>\u003c/p>\n\u003cp>To me what was really thrilling is that it did this fabulous thing that Tenorio does in his writing, he’s able to take events and capture the essence of the events, and of a people — who we are as Filipinos.\u003c/p>\n\u003cp>So it has this beautiful sense of longing and romance and dreaming and fabulousness.\u003c/p>\n\u003cp>And meanwhile it really is veiled in this strange version of an immigration story. So to me the whole (short story) collection is variations on an immigration story. And while this one story is about film making and the lust to create, it’s also really about landing in a place, and what it’s like to have lost your dreams and lost your home or have no sense of home anywhere.\u003c/p>\n\u003cfigure id=\"attachment_10990248\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10990248\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1180x664.jpg\" alt=\"Playwright, actor, and director Sean San Jose \" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/L1010799_ssj-1-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright, actor, and director Sean San Jose \u003ccite>(Courtesy Sean San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So how do you turn a story into a play?\u003c/strong>\u003c/p>\n\u003cp>For me it’s always finding what is the thing that lives out loud the most in the story. Sometimes that’s a narrative voice. Sometimes a writer writes with a lot of dialogue. So I immediately took to this idea of creating a community of people reliving what happened to these two lovers.\u003c/p>\n\u003cp>And there was something thrilling about the two pieces that Philip and I worked on… one is very interior (“Save the I-Hotel”) and one is very energetic and exterior (“Monstress”). And we could do them with the same company of actors, and the intention of a narrating choruses in both of them, shaping the two pieces to live as a twin bill together.\u003c/p>\n\u003cp>\u003cstrong>What do you make of this classic idea that “Monstress” explores of Hollywood as a place where dreams are made and broken.\u003c/strong>\u003c/p>\n\u003cp>Having heartache, romance and dreaming, and reality live side-by-side is very familiar to me and many immigrants.\u003c/p>\n\u003cp>What it reminded me of was how my mom and my aunties watched movies a lot — especially \u003cem>West Side Story\u003c/em>. We would watch it and we all knew what’s going to happen to Tony and Maria, and yet you hope for a happy ending all the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So a lot of times we retell our family histories, even though we know the ending might be sad. There’s something about the reliving and the romance of it, that appeals to me.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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