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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/2015/08/TDL20150828.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Friday, Aug. 28: \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-28/death-interruptions\" target=\"_blank\" rel=\"noopener\">The Commonwealth Club Presents “Death With Interruptions,”\u003c/a>\u003c/strong> to wrap up their “Music Matters” series. \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-28/death-interruptions\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 28: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/los-lonely-boys/\" target=\"_blank\" rel=\"noopener\">Los Lonely Boys.\u003c/a> \u003c/strong>The three Garza brothers, Henry, Jojo and Ringo, mix a bit of conjunto into brown-eyed soul and blues-rock, perfect for a warm afternoon in the park in San Jose. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/los-lonely-boys/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 29: \u003ca href=\"http://ww2.kqed.org/news/2015/08/23/bicicletas-por-la-pazs-rolling-revolution-with-a-beat\" target=\"_blank\" rel=\"noopener\">Bicicletas Por La Paz\u003c/a>.\u003c/strong> A mix of South American-angled funk, ska, reggae, \u003ci>rock en español\u003c/i> and rap — from a band that doubles as a bicycle advocacy and awareness collective. \u003ca href=\"http://ww2.kqed.org/news/2015/08/23/bicicletas-por-la-pazs-rolling-revolution-with-a-beat\" target=\"_blank\" rel=\"noopener\">Read more on the California Report here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 29:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curious-flights/\" target=\"_blank\" rel=\"noopener\"> Curious Flights. \u003c/a>\u003c/strong>San Francisco Conservatory of Music graduate Brenden Guy (a terrific clarinetist) curates this four-concert series featuring music that isn’t on everyone’s classical playlist — but should be.\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curious-flights/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Wednesday, Sept. 2:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/between-riverside-and-crazy/\" target=\"_blank\" rel=\"noopener\"> ‘Between Riverside and Crazy.’\u003c/a> \u003c/strong>Stephen Adly Guirgis’s playwon a Pulitzer Prize last year, and A-C-T opens its season with the first production outside of New York. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/between-riverside-and-crazy/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Friday, Aug. 28: \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-28/death-interruptions\" target=\"_blank\" rel=\"noopener\">The Commonwealth Club Presents “Death With Interruptions,”\u003c/a>\u003c/strong> to wrap up their “Music Matters” series. \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-28/death-interruptions\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 28: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/los-lonely-boys/\" target=\"_blank\" rel=\"noopener\">Los Lonely Boys.\u003c/a> \u003c/strong>The three Garza brothers, Henry, Jojo and Ringo, mix a bit of conjunto into brown-eyed soul and blues-rock, perfect for a warm afternoon in the park in San Jose. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/los-lonely-boys/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 29: \u003ca href=\"http://ww2.kqed.org/news/2015/08/23/bicicletas-por-la-pazs-rolling-revolution-with-a-beat\" target=\"_blank\" rel=\"noopener\">Bicicletas Por La Paz\u003c/a>.\u003c/strong> A mix of South American-angled funk, ska, reggae, \u003ci>rock en español\u003c/i> and rap — from a band that doubles as a bicycle advocacy and awareness collective. \u003ca href=\"http://ww2.kqed.org/news/2015/08/23/bicicletas-por-la-pazs-rolling-revolution-with-a-beat\" target=\"_blank\" rel=\"noopener\">Read more on the California Report here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 29:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curious-flights/\" target=\"_blank\" rel=\"noopener\"> Curious Flights. \u003c/a>\u003c/strong>San Francisco Conservatory of Music graduate Brenden Guy (a terrific clarinetist) curates this four-concert series featuring music that isn’t on everyone’s classical playlist — but should be.\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curious-flights/\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Wednesday, Sept. 2:\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/between-riverside-and-crazy/\" target=\"_blank\" rel=\"noopener\"> ‘Between Riverside and Crazy.’\u003c/a> \u003c/strong>Stephen Adly Guirgis’s playwon a Pulitzer Prize last year, and A-C-T opens its season with the first production outside of New York. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/between-riverside-and-crazy/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The fall’s an exciting time to be a Bay Area theatergoer. Most theaters are starting their new seasons and putting their best feet forward with a stunning selection of shows. We could easily name a dozen plays and musicals that are well worth seeing in the months to come, but here’s just a handful that we’re particularly eager to see.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915654\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-oldest.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10915654 size-thumb\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-oldest.jpg\" alt=\"The Oldest Boy playwright Sarah Ruhl. (Photo: Courtesy of Marin Theatre Company)\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-oldest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-oldest-400x273.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Oldest Boy\u003c/i> playwright Sarah Ruhl. (Photo courtesy of Marin Theatre Company)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Oldest Boy\u003c/em>\u003c/h3>\n\u003ch5>Sept. 10 – Oct. 11\u003cbr>\nMarin Theatre Company\u003cbr>\n\u003ca href=\"http://www.marintheatre.org/productions/the-oldest-boy\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>More often than not, new Sarah Ruhl plays have come to the Bay Area through Berkeley Repertory Theatre (including next year’s \u003cem>For Peter Pan on her 70th birthday\u003c/em>), so it’s refreshing to see multiple theaters bringing the MacArthur “Genius” Fellowship-winning playwright’s work to local stages. This season the Marin Theatre Company starts the ball rolling with \u003cem>The Oldest Boy\u003c/em>, and in November San Francisco Playhouse gets into the act with \u003cem>Stage Kiss\u003c/em>. But it’s the MTC production that is an absolute “not-miss”: in this play, which is seeing its West Coast premiere, an American woman grapples with the revelation that her 3-year-old might be a reincarnated Tibetan lama who may be needed elsewhere. MTC’s production is only the second of \u003cem>The Oldest Boy\u003c/em> after its 2014 premiere at Lincoln Center.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915656\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-Vrindavan1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10915656 size-thumb\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-Vrindavan1.jpg\" alt=\"The widows in Naatak’s new Hindi musical Vrindavan. (Photo: Amit Basu)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-Vrindavan1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-Vrindavan1-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The widows in Naatak’s new Hindi musical \u003ci>Vrindavan.\u003c/i> (Photo by Amit Basu)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Vrindavan\u003c/em>\u003c/h3>\n\u003ch5>Sept. 12 – 27\u003cbr>\nNaatak\u003cbr>\n\u003ca href=\"http://naatak.com/portfolio/vrindavan-2015/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Santa Clara-based Naatak, America’s largest Indian theater company, marks its 20th year and its 50th production in a big way with a grand Bollywood-style musical. Written and directed by Sujit Saraf and performed in Hindi with English supertitles, \u003cem>Vrindavan\u003c/em> is a story of the titular Indian city that has become home to thousands of widows, who are forbidden to remarry and are left begging in the streets. The musical takes its inspiration from a real-life controversy last year in which the Bollywood-superstar-turned-member-of-Parliament Hema Malini asserted that the widows are more well-off than they appear, and should stay in Bengal and not crowd this holy city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915657\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-monstress.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-10915657\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-monstress.jpg\" alt=\"Monstress cast members Ogie Zulueta and Jomar Tagatac at a recent workshop. (Photo: Alessandra Mello)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-monstress.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-monstress-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Monstress\u003c/i> cast members Ogie Zulueta and Jomar Tagatac at a recent workshop. (Photo by Alessandra Mello)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Monstress\u003c/em>\u003c/h3>\n\u003ch5>Sept. 16 – Nov. 22\u003cbr>\nAmerican Conservatory Theater\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/monstress.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>\u003cem>Monstress\u003c/em> stands out amid ACT’s season as a thoroughly San Francisco project from a company that doesn’t do a lot of those. Having both Philip Kan Gotanda and Camp Santo cofounder Sean San José adapting two Lysley Tenorio short stories — \u003ci>Monstress\u003c/i> and \u003ci>Save the I-Hotel\u003c/i>, both about Filipino American life in the city — ensures a fascinating alternate perspective on the Bay Area. Gotanda’s \u003cem>Save the I-Hotel\u003c/em> focuses on the 1970s eviction of Filipino residents from the International Hotel in the “Manilatown” neighborhood that was then centered on the edge of San Francisco’s Chinatown. San José’s \u003cem>Monstress \u003c/em>follows a Manila B-movie director lured to SF to work with a dodgy American filmmaker.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915652\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-ada2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10915652 size-thumb\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-ada2.jpg\" alt=\"fall-ada2\" width=\"800\" height=\"673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-ada2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-ada2-400x337.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-ada2-713x600.jpg 713w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Ada and the Memory Engine\u003c/i> playwright Lauren Gunderson. (Photo courtesy of the playwright.)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Ada and the Memory Engine\u003c/em>\u003c/h3>\n\u003ch5>Oct. 17 – Nov. 22\u003cbr>\nCentral Works\u003cbr>\n\u003ca href=\"http://centralworks.org/ada-and-the-memory-engine/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Prolific San Francisco playwright Lauren Gunderson returns to one of her favorite topics: overlooked female scientists of history. She’s already explored such characters in plays such as \u003cem>Silent Sky\u003c/em> and \u003cem>Emilie: La Marquise du Châtelet Defends Her Life Tonight.\u003c/em> For her latest work, which will see its world premiere in the Bay Area, she takes on the heady topic of Ada Lovelace, an early 19th century countess and estranged daughter of Lord Byron, who wrote the world’s first computer program in the 1840s. This is the 49th world premiere for Central Works, a Berkeley company that produces nothing but original works, and it features music by theatrical rock band the Kilbanes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915655\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-rudemechs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-10915655\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-rudemechs.jpg\" alt=\"Rude Mechanicals perform Stop Hitting Yourself at Cal Performances. (Photo: Bret Brookshire)\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-rudemechs.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-rudemechs-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rude Mechanicals perform \u003ci>Stop Hitting Yourself\u003c/i> at Cal Performances. (Photo by Bret Brookshire)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Stop Hitting Yourself\u003c/em>\u003c/h3>\n\u003ch5>Nov. 19 – 22\u003cbr>\nCal Performances\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2015-16/theater/rude-mechanicals-stop-hitting-yourself.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>An acclaimed ensemble theater collective from Austin, Rude Mechanicals finally make their belated Bay Area debut with back-to-back shows at Z Space (\u003ca href=\"http://zspace.org/new-work/the-method-gun\" target=\"_blank\" rel=\"noopener\">\u003cem>The Method Gun\u003c/em>\u003c/a>) and Cal Performances. \u003cem>Stop Hitting Yourself\u003c/em> is a devised-theater extravaganza that combines political critique with big Busby Berkeley-style 1930s musicals in a story about a socialite trying to teach a wild man from the forest how to behave in high society.\n\u003c/p>\u003c/div>\n\u003cp>And a few shout outs for your further viewing pleasure:\u003c/p>\n\u003ch3>\u003cem>Blockbuster Season\u003c/em>\u003c/h3>\n\u003ch5>Sept. 25 – Oct. 18\u003cbr>\nMugwumpin\u003cbr>\n\u003ca href=\"http://www.mugwumpin.org/blockbuster-season/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003ch3>\u003cem>In Love and Warcraft\u003c/em>\u003c/h3>\n\u003ch5>Nov. 12 – Dec. 12\u003cbr>\nCustom Made Theatre Co.\u003cbr>\n\u003ca href=\"http://www.custommade.org/20152016-season/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003ch3>\u003cem>Emma\u003c/em>\u003c/h3>\n\u003ch5>Dec. 2 – Jan. 2\u003cbr>\nTheatreWorks\u003cbr>\n\u003ca href=\"http://www.theatreworks.org/shows/1516-season/emma\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" class=\"alignright size-thumbnail wp-image-10915302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The fall’s an exciting time to be a Bay Area theatergoer. Most theaters are starting their new seasons and putting their best feet forward with a stunning selection of shows. We could easily name a dozen plays and musicals that are well worth seeing in the months to come, but here’s just a handful that we’re particularly eager to see.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915654\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-oldest.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10915654 size-thumb\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-oldest.jpg\" alt=\"The Oldest Boy playwright Sarah Ruhl. (Photo: Courtesy of Marin Theatre Company)\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-oldest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-oldest-400x273.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Oldest Boy\u003c/i> playwright Sarah Ruhl. (Photo courtesy of Marin Theatre Company)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Oldest Boy\u003c/em>\u003c/h3>\n\u003ch5>Sept. 10 – Oct. 11\u003cbr>\nMarin Theatre Company\u003cbr>\n\u003ca href=\"http://www.marintheatre.org/productions/the-oldest-boy\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>More often than not, new Sarah Ruhl plays have come to the Bay Area through Berkeley Repertory Theatre (including next year’s \u003cem>For Peter Pan on her 70th birthday\u003c/em>), so it’s refreshing to see multiple theaters bringing the MacArthur “Genius” Fellowship-winning playwright’s work to local stages. This season the Marin Theatre Company starts the ball rolling with \u003cem>The Oldest Boy\u003c/em>, and in November San Francisco Playhouse gets into the act with \u003cem>Stage Kiss\u003c/em>. But it’s the MTC production that is an absolute “not-miss”: in this play, which is seeing its West Coast premiere, an American woman grapples with the revelation that her 3-year-old might be a reincarnated Tibetan lama who may be needed elsewhere. MTC’s production is only the second of \u003cem>The Oldest Boy\u003c/em> after its 2014 premiere at Lincoln Center.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915656\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-Vrindavan1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10915656 size-thumb\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-Vrindavan1.jpg\" alt=\"The widows in Naatak’s new Hindi musical Vrindavan. (Photo: Amit Basu)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-Vrindavan1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-Vrindavan1-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The widows in Naatak’s new Hindi musical \u003ci>Vrindavan.\u003c/i> (Photo by Amit Basu)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Vrindavan\u003c/em>\u003c/h3>\n\u003ch5>Sept. 12 – 27\u003cbr>\nNaatak\u003cbr>\n\u003ca href=\"http://naatak.com/portfolio/vrindavan-2015/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Santa Clara-based Naatak, America’s largest Indian theater company, marks its 20th year and its 50th production in a big way with a grand Bollywood-style musical. Written and directed by Sujit Saraf and performed in Hindi with English supertitles, \u003cem>Vrindavan\u003c/em> is a story of the titular Indian city that has become home to thousands of widows, who are forbidden to remarry and are left begging in the streets. The musical takes its inspiration from a real-life controversy last year in which the Bollywood-superstar-turned-member-of-Parliament Hema Malini asserted that the widows are more well-off than they appear, and should stay in Bengal and not crowd this holy city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915657\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-monstress.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-10915657\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-monstress.jpg\" alt=\"Monstress cast members Ogie Zulueta and Jomar Tagatac at a recent workshop. (Photo: Alessandra Mello)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-monstress.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-monstress-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Monstress\u003c/i> cast members Ogie Zulueta and Jomar Tagatac at a recent workshop. (Photo by Alessandra Mello)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Monstress\u003c/em>\u003c/h3>\n\u003ch5>Sept. 16 – Nov. 22\u003cbr>\nAmerican Conservatory Theater\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/monstress.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>\u003cem>Monstress\u003c/em> stands out amid ACT’s season as a thoroughly San Francisco project from a company that doesn’t do a lot of those. Having both Philip Kan Gotanda and Camp Santo cofounder Sean San José adapting two Lysley Tenorio short stories — \u003ci>Monstress\u003c/i> and \u003ci>Save the I-Hotel\u003c/i>, both about Filipino American life in the city — ensures a fascinating alternate perspective on the Bay Area. Gotanda’s \u003cem>Save the I-Hotel\u003c/em> focuses on the 1970s eviction of Filipino residents from the International Hotel in the “Manilatown” neighborhood that was then centered on the edge of San Francisco’s Chinatown. San José’s \u003cem>Monstress \u003c/em>follows a Manila B-movie director lured to SF to work with a dodgy American filmmaker.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915652\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-ada2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10915652 size-thumb\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-ada2.jpg\" alt=\"fall-ada2\" width=\"800\" height=\"673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-ada2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-ada2-400x337.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-ada2-713x600.jpg 713w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Ada and the Memory Engine\u003c/i> playwright Lauren Gunderson. (Photo courtesy of the playwright.)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Ada and the Memory Engine\u003c/em>\u003c/h3>\n\u003ch5>Oct. 17 – Nov. 22\u003cbr>\nCentral Works\u003cbr>\n\u003ca href=\"http://centralworks.org/ada-and-the-memory-engine/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Prolific San Francisco playwright Lauren Gunderson returns to one of her favorite topics: overlooked female scientists of history. She’s already explored such characters in plays such as \u003cem>Silent Sky\u003c/em> and \u003cem>Emilie: La Marquise du Châtelet Defends Her Life Tonight.\u003c/em> For her latest work, which will see its world premiere in the Bay Area, she takes on the heady topic of Ada Lovelace, an early 19th century countess and estranged daughter of Lord Byron, who wrote the world’s first computer program in the 1840s. This is the 49th world premiere for Central Works, a Berkeley company that produces nothing but original works, and it features music by theatrical rock band the Kilbanes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915655\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-rudemechs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumb wp-image-10915655\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/fall-rudemechs.jpg\" alt=\"Rude Mechanicals perform Stop Hitting Yourself at Cal Performances. (Photo: Bret Brookshire)\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-rudemechs.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/fall-rudemechs-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rude Mechanicals perform \u003ci>Stop Hitting Yourself\u003c/i> at Cal Performances. (Photo by Bret Brookshire)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Stop Hitting Yourself\u003c/em>\u003c/h3>\n\u003ch5>Nov. 19 – 22\u003cbr>\nCal Performances\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2015-16/theater/rude-mechanicals-stop-hitting-yourself.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>An acclaimed ensemble theater collective from Austin, Rude Mechanicals finally make their belated Bay Area debut with back-to-back shows at Z Space (\u003ca href=\"http://zspace.org/new-work/the-method-gun\" target=\"_blank\" rel=\"noopener\">\u003cem>The Method Gun\u003c/em>\u003c/a>) and Cal Performances. \u003cem>Stop Hitting Yourself\u003c/em> is a devised-theater extravaganza that combines political critique with big Busby Berkeley-style 1930s musicals in a story about a socialite trying to teach a wild man from the forest how to behave in high society.\n\u003c/p>\u003c/div>\n\u003cp>And a few shout outs for your further viewing pleasure:\u003c/p>\n\u003ch3>\u003cem>Blockbuster Season\u003c/em>\u003c/h3>\n\u003ch5>Sept. 25 – Oct. 18\u003cbr>\nMugwumpin\u003cbr>\n\u003ca href=\"http://www.mugwumpin.org/blockbuster-season/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003ch3>\u003cem>In Love and Warcraft\u003c/em>\u003c/h3>\n\u003ch5>Nov. 12 – Dec. 12\u003cbr>\nCustom Made Theatre Co.\u003cbr>\n\u003ca href=\"http://www.custommade.org/20152016-season/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003ch3>\u003cem>Emma\u003c/em>\u003c/h3>\n\u003ch5>Dec. 2 – Jan. 2\u003cbr>\nTheatreWorks\u003cbr>\n\u003ca href=\"http://www.theatreworks.org/shows/1516-season/emma\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\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\u003c/aside>\n\u003cp>\u003cstrong>Opening Thursday, Aug. 20: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">‘Eurydice.’\u003c/a>\u003c/strong> Shotgun revives Sarah Ruhl’s luminous drama of a daughter and father reunited in the land of the dead. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Jazzy Films\u003c/a>. \u003c/strong>A cinematic jazz feast for the eyes and ears, this series pairs classics like \u003cem>The Maltese Falcon\u003c/em> with music performed by local greats like drummer Antonio Sanchez. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">The Velvet Teen. \u003c/a>\u003c/strong>After a nine-year hiatus, Sonoma County’s own Judah Nagler brings his dreamy, sprawling baroque pop to stages in San Francisco and Petaluma. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Ring-A-Ding-Ding: The Movies of Frank Sinatra.\u003c/a> \u003c/strong>The Vogue marks the Chairman’s centenary with 11 time-capsule dramas and musicals. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Merola Opera Grand Finale.\u003c/a>\u003c/strong> Hear a star being born at this conclusion of the annual Merola Opera Program, a boot camp for young mezzos and basses. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" 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>\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\u003c/aside>\n\u003cp>\u003cstrong>Opening Thursday, Aug. 20: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">‘Eurydice.’\u003c/a>\u003c/strong> Shotgun revives Sarah Ruhl’s luminous drama of a daughter and father reunited in the land of the dead. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/eurydice/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Jazzy Films\u003c/a>. \u003c/strong>A cinematic jazz feast for the eyes and ears, this series pairs classics like \u003cem>The Maltese Falcon\u003c/em> with music performed by local greats like drummer Antonio Sanchez. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jazzy-films/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">The Velvet Teen. \u003c/a>\u003c/strong>After a nine-year hiatus, Sonoma County’s own Judah Nagler brings his dreamy, sprawling baroque pop to stages in San Francisco and Petaluma. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-velvet-teen/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 21 – Sunday, Aug. 23: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Ring-A-Ding-Ding: The Movies of Frank Sinatra.\u003c/a> \u003c/strong>The Vogue marks the Chairman’s centenary with 11 time-capsule dramas and musicals. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/ring-a-ding-ding-the-movies-of-frank-sinatra/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Aug. 22: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Merola Opera Grand Finale.\u003c/a>\u003c/strong> Hear a star being born at this conclusion of the annual Merola Opera Program, a boot camp for young mezzos and basses. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/merola-grand-finale/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of the Bay Area’s leading theater companies has a new artistic director. Orinda’s \u003ca href=\"http://www.calshakes.org\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> (Cal Shakes) announced Wednesday that Eric Ting will join the company in November.\u003c/p>\n\u003cp>“He has this boundless enthusiasm for making art that is just contagious,” Cal Shakes managing director Susie Falk said.\u003c/p>\n\u003cp>Ting, 42, will become one of the few Chinese-Americans heading a major theater company.\u003c/p>\n\u003cp>Currently associate artistic director at the well-regarded Long Wharf Theater in New Haven, Ting takes over from Jon Moscone, whose 15 year tenure of Cal Shakes was marked not only by well-regarded productions of Shakespeare but also included dramas by modern playwrights — many of them of color.\u003c/p>\n\u003cp>Falk says CalShakes picked Ting partly because he’s committed to continuing those efforts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Making the work of Shakespeare and other classics available to more people,” Falk said of Ting’s approach. “[Ting believes] that this work belongs to everybody, and that theater shouldn’t be an elite experience.”\u003c/p>\n\u003cp>In a statement, Ting said he’s honored to join a theater company “whose mission and programming both on and off its stage so thoroughly embody what I believe a theater can and must be today.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v1sRg3udr4k\u003c/p>\n\u003cp>Falk said Ting will bring something new to the company. She said Moscone was often interested in how plays differed from each other, while Ting is more interested in their similarities. “Like when you put a play next to Shakespeare — how do those two plays talk to each other,” Falk said.\u003c/p>\n\u003cp>Ting studied directing and puppetry at West Virginia University, and then got an MFA from the International Actor Training Academy at the University of Tennessee.\u003c/p>\n\u003cp>Falk said Ting and Moscone are each picking two plays for the 2016 season, still to be announced.\u003c/p>\n\u003cp>“Eric Ting is an inspired choice for CalShakes,” said Brad Erickson, executive director of Theatre Bay Area, an umbrella organization for the region’s performing arts scene. “Eric is a well-known leader in the field who stands out for his dual commitment to bold artistry and the engagement of theater with the larger community and issues of social change.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ting will officially take over as artistic director Nov. 1. But Falk expects it will take him a few months to settle in. The director, together with his wife and infant daughter will be moving from Brooklyn to the challenging East Bay real estate market.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the Bay Area’s leading theater companies has a new artistic director. Orinda’s \u003ca href=\"http://www.calshakes.org\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> (Cal Shakes) announced Wednesday that Eric Ting will join the company in November.\u003c/p>\n\u003cp>“He has this boundless enthusiasm for making art that is just contagious,” Cal Shakes managing director Susie Falk said.\u003c/p>\n\u003cp>Ting, 42, will become one of the few Chinese-Americans heading a major theater company.\u003c/p>\n\u003cp>Currently associate artistic director at the well-regarded Long Wharf Theater in New Haven, Ting takes over from Jon Moscone, whose 15 year tenure of Cal Shakes was marked not only by well-regarded productions of Shakespeare but also included dramas by modern playwrights — many of them of color.\u003c/p>\n\u003cp>Falk says CalShakes picked Ting partly because he’s committed to continuing those efforts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Making the work of Shakespeare and other classics available to more people,” Falk said of Ting’s approach. “[Ting believes] that this work belongs to everybody, and that theater shouldn’t be an elite experience.”\u003c/p>\n\u003cp>In a statement, Ting said he’s honored to join a theater company “whose mission and programming both on and off its stage so thoroughly embody what I believe a theater can and must be today.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v1sRg3udr4k'\n title='//www.youtube.com/embed/v1sRg3udr4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Falk said Ting will bring something new to the company. She said Moscone was often interested in how plays differed from each other, while Ting is more interested in their similarities. “Like when you put a play next to Shakespeare — how do those two plays talk to each other,” Falk said.\u003c/p>\n\u003cp>Ting studied directing and puppetry at West Virginia University, and then got an MFA from the International Actor Training Academy at the University of Tennessee.\u003c/p>\n\u003cp>Falk said Ting and Moscone are each picking two plays for the 2016 season, still to be announced.\u003c/p>\n\u003cp>“Eric Ting is an inspired choice for CalShakes,” said Brad Erickson, executive director of Theatre Bay Area, an umbrella organization for the region’s performing arts scene. “Eric is a well-known leader in the field who stands out for his dual commitment to bold artistry and the engagement of theater with the larger community and issues of social change.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ting will officially take over as artistic director Nov. 1. But Falk expects it will take him a few months to settle in. The director, together with his wife and infant daughter will be moving from Brooklyn to the challenging East Bay real estate market.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Telling Stories from Shakespeare and Changing the World",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cal-shakes-presents-the-mystery-of-irma-vep/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Cal Shakes Presents ‘The Mystery of Irma Vep’\u003c/h2>\n\u003cdiv class=\"event-desc\">Jon Moscone goes out with a bang: Charles Ludlam’s ‘The Mystery of Irma Vep’ is a goofy, cross-dressing, quick-change spoof on classics of melodrama.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 6\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bruns Amphitheater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cal-shakes-presents-the-mystery-of-irma-vep/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Jon Moscone is one of the Bay Area’s most innovative and entertaining theater directors, and soon a policy wonk.\u003c/p>\n\u003cp>Moscone is leaving \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> in Orinda after 15 years. He joins San Francisco’s \u003ca href=\"http://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center\u003c/a> for the Arts as chief of civic engagement in September.\u003c/p>\n\u003cp>Moscone leaves CalShakes on a roll. The company has more than doubled its budget in his time there, with credit also to Executive Director Susie Falk. They also remodeled the theater and thoughtfully overhauled the company’s repertoire, adding a diverse set of classic and modern playwrights, from Hurston to Montoya.\u003c/p>\n\u003cp>And Moscone is offering a goodby gift to audiences, directing a beloved farce. Charles Ludlam’s \u003cem>The Mystery of Irma Vep\u003c/em> is a goofy, cross-dressing, quick-change spoof on classics of melodrama — think \u003cem>Rebecca\u003c/em> and \u003cem>Wuthering Heights\u003c/em>. Then mix with vampires.\u003c/p>\n\u003cp>I talked to Moscone this week by phone for a segment of \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a>. He said his head was “spinning” from rehearsals for \u003cem>Mystery…\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Why choose this fabulous but very silly comedy for your final play at Cal Shakes?\u003c/strong>\u003c/p>\n\u003cp>I had chosen it prior to my decision to leave. But I did want to have something just joyful, and funny, and silly, and smart and theatrical. And yet it’s not a small play, because there are endless costume changes that happen within 10 to 15 seconds backstage.\u003c/p>\n\u003cp>So you’re essentially directing two plays. You’re directing an onstage play and an offstage play. And the number of people back there who are ripping wigs off, and pulling clothes off, and putting on high heels, while the actor is having to speak on a mic from offstage, makes it quite dizzying to direct and affects the performance on stage; because every time they come back on, you can feel this energy of what did they’re doing back there, which I think is built into [playwright Charles] Ludlam’s comic mechanism. It doesn’t feel safe. It requires virtuousity, and that’s why I love the piece so much.\u003c/p>\n\u003cfigure id=\"attachment_10894949\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Jon-Moscone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10894949\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Jon-Moscone-400x400.jpg\" alt=\"Jon Moscone\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone.jpg 450w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jon Moscone (Courtesy California Shakespeare Theater)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>And you’re working with Danny Scheie, a virtuoso performer and the versatile Liam Vincent.\u003c/strong>\u003c/p>\n\u003cp>I picked the show for Danny, and was fortunate to bring along Liam Vincent as his partner.\u003c/p>\n\u003cp>And Danny just knows how to take something to the edge in performance. And he understands all the layers of comedy in this play, in the same way he understands all of the layers of comedy inside a Shakespeare play. So he’s able to play all of them at once, and he does it all while looking quite beautiful in a dress.\u003c/p>\n\u003cp>\u003cstrong>Fifteen years at Cal Shakes. What do you remember most vividly from that stage in the golden hills?\u003c/strong>\u003c/p>\n\u003cp>Oh my. I think probably that’s stayed with me the longest is \u003cem>The Life and Adventures of \u003c/em>[David Edgar’s adaptation of Dickens’]\u003cem> Nicholas Nickleby\u003c/em>, which we did both parts of so it ran about seven hours total. And it was so ambitious. It was so batting above our skill level. And we achieved it. and it just opened up the doors to a whole new way of sharing work that isn’t from Shakespeare but can live next to it, and I’ll never forget that one.\u003c/p>\n\u003cp>\u003cstrong>You’ve mixed Shakespeare with later classics like Shaw, and with very much alive writers like Octavio Solis and Richard Montoya. What were you thinking?\u003c/strong>\u003c/p>\n\u003cp>The philosophy was always with Shakespeare to open up who was able to access it. We’re telling the story of now, even if we set the play in its original time frame. So I always believed that Shakespeare belonged to everybody. And once I worked through that, and was able to hire directors who would hire artists who would expand the vocabulary of who would get to tell the stories, I was then able to think about what other writers needed their stories told.\u003c/p>\n\u003cp>And I opened it up early on to [Anton] Chekhov, and George Bernard Shaw, and Oscar Wilde. But after a while I also realized that writers of color had not been included in our programming. And there were plenty of writers who had achieved classic status. Writers whose work endured. And that started with [Zora Neale] Hurston, And that continued with people like Octavio Solis, who is a contemporary playwright. But he wrote from Steinbeck (\u003cem>The Pastures of Heaven\u003c/em>), and Octavio’s work is magnificent and theatrical and inspired by Shakespeare. So I felt that the more I could root the belief in Shakespeare belonging to everybody, then I could expand who was able to tell the story, as long as their work as a writer and director and actor contained breadth and scope and depth.\u003c/p>\n\u003cp>We live in the Bay Area, and the Bay Area has a majority of people who are of color. And so for us to be reflective of the communities we serve, we can’t pick and choose who those communities are. And so the more we can do that and allow people to tell their stories, to tell the story of Shakespeare in their own voices, we’ll continue to keep Shakespeare alive, and keep theater alive in the ever more diverse Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Your new job is chief of civic engagement for YBCA. What does that mean?\u003c/strong>\u003c/p>\n\u003cp>Civic engagement to me, as I have defined it with [YBCA Chief Executive Officer] Deborar Cullinan and [Director of Performing Arts] Marc Bamuthi Joseph, is about a creative citizenry. And a creative citizenry is one in which in which everyone has a capacity to make things better for their neighborhood, for their school, for their street and ultimately for their city.\u003c/p>\n\u003cp>\u003cstrong>It sounds like you’re defining not an arts program, but a public policy program.\u003c/strong>\u003c/p>\n\u003cp>You’re defining the program based on the impact you’re intending to have. It’s expanding art into sectors beyond artists. This will also include urban planners, the tech community, this will also include educators, designers, and architects, and citizens.\u003c/p>\n\u003cp>A civically engaged city is one where everyone votes. But beyond that, a civically engaged city is one where everybody has a say and a way into making things better.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cal-shakes-presents-the-mystery-of-irma-vep/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Cal Shakes Presents ‘The Mystery of Irma Vep’\u003c/h2>\n\u003cdiv class=\"event-desc\">Jon Moscone goes out with a bang: Charles Ludlam’s ‘The Mystery of Irma Vep’ is a goofy, cross-dressing, quick-change spoof on classics of melodrama.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 6\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bruns Amphitheater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cal-shakes-presents-the-mystery-of-irma-vep/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Jon Moscone is one of the Bay Area’s most innovative and entertaining theater directors, and soon a policy wonk.\u003c/p>\n\u003cp>Moscone is leaving \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">California Shakespeare Theater\u003c/a> in Orinda after 15 years. He joins San Francisco’s \u003ca href=\"http://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center\u003c/a> for the Arts as chief of civic engagement in September.\u003c/p>\n\u003cp>Moscone leaves CalShakes on a roll. The company has more than doubled its budget in his time there, with credit also to Executive Director Susie Falk. They also remodeled the theater and thoughtfully overhauled the company’s repertoire, adding a diverse set of classic and modern playwrights, from Hurston to Montoya.\u003c/p>\n\u003cp>And Moscone is offering a goodby gift to audiences, directing a beloved farce. Charles Ludlam’s \u003cem>The Mystery of Irma Vep\u003c/em> is a goofy, cross-dressing, quick-change spoof on classics of melodrama — think \u003cem>Rebecca\u003c/em> and \u003cem>Wuthering Heights\u003c/em>. Then mix with vampires.\u003c/p>\n\u003cp>I talked to Moscone this week by phone for a segment of \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a>. He said his head was “spinning” from rehearsals for \u003cem>Mystery…\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Why choose this fabulous but very silly comedy for your final play at Cal Shakes?\u003c/strong>\u003c/p>\n\u003cp>I had chosen it prior to my decision to leave. But I did want to have something just joyful, and funny, and silly, and smart and theatrical. And yet it’s not a small play, because there are endless costume changes that happen within 10 to 15 seconds backstage.\u003c/p>\n\u003cp>So you’re essentially directing two plays. You’re directing an onstage play and an offstage play. And the number of people back there who are ripping wigs off, and pulling clothes off, and putting on high heels, while the actor is having to speak on a mic from offstage, makes it quite dizzying to direct and affects the performance on stage; because every time they come back on, you can feel this energy of what did they’re doing back there, which I think is built into [playwright Charles] Ludlam’s comic mechanism. It doesn’t feel safe. It requires virtuousity, and that’s why I love the piece so much.\u003c/p>\n\u003cfigure id=\"attachment_10894949\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Jon-Moscone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10894949\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Jon-Moscone-400x400.jpg\" alt=\"Jon Moscone\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Moscone.jpg 450w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jon Moscone (Courtesy California Shakespeare Theater)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>And you’re working with Danny Scheie, a virtuoso performer and the versatile Liam Vincent.\u003c/strong>\u003c/p>\n\u003cp>I picked the show for Danny, and was fortunate to bring along Liam Vincent as his partner.\u003c/p>\n\u003cp>And Danny just knows how to take something to the edge in performance. And he understands all the layers of comedy in this play, in the same way he understands all of the layers of comedy inside a Shakespeare play. So he’s able to play all of them at once, and he does it all while looking quite beautiful in a dress.\u003c/p>\n\u003cp>\u003cstrong>Fifteen years at Cal Shakes. What do you remember most vividly from that stage in the golden hills?\u003c/strong>\u003c/p>\n\u003cp>Oh my. I think probably that’s stayed with me the longest is \u003cem>The Life and Adventures of \u003c/em>[David Edgar’s adaptation of Dickens’]\u003cem> Nicholas Nickleby\u003c/em>, which we did both parts of so it ran about seven hours total. And it was so ambitious. It was so batting above our skill level. And we achieved it. and it just opened up the doors to a whole new way of sharing work that isn’t from Shakespeare but can live next to it, and I’ll never forget that one.\u003c/p>\n\u003cp>\u003cstrong>You’ve mixed Shakespeare with later classics like Shaw, and with very much alive writers like Octavio Solis and Richard Montoya. What were you thinking?\u003c/strong>\u003c/p>\n\u003cp>The philosophy was always with Shakespeare to open up who was able to access it. We’re telling the story of now, even if we set the play in its original time frame. So I always believed that Shakespeare belonged to everybody. And once I worked through that, and was able to hire directors who would hire artists who would expand the vocabulary of who would get to tell the stories, I was then able to think about what other writers needed their stories told.\u003c/p>\n\u003cp>And I opened it up early on to [Anton] Chekhov, and George Bernard Shaw, and Oscar Wilde. But after a while I also realized that writers of color had not been included in our programming. And there were plenty of writers who had achieved classic status. Writers whose work endured. And that started with [Zora Neale] Hurston, And that continued with people like Octavio Solis, who is a contemporary playwright. But he wrote from Steinbeck (\u003cem>The Pastures of Heaven\u003c/em>), and Octavio’s work is magnificent and theatrical and inspired by Shakespeare. So I felt that the more I could root the belief in Shakespeare belonging to everybody, then I could expand who was able to tell the story, as long as their work as a writer and director and actor contained breadth and scope and depth.\u003c/p>\n\u003cp>We live in the Bay Area, and the Bay Area has a majority of people who are of color. And so for us to be reflective of the communities we serve, we can’t pick and choose who those communities are. And so the more we can do that and allow people to tell their stories, to tell the story of Shakespeare in their own voices, we’ll continue to keep Shakespeare alive, and keep theater alive in the ever more diverse Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Your new job is chief of civic engagement for YBCA. What does that mean?\u003c/strong>\u003c/p>\n\u003cp>Civic engagement to me, as I have defined it with [YBCA Chief Executive Officer] Deborar Cullinan and [Director of Performing Arts] Marc Bamuthi Joseph, is about a creative citizenry. And a creative citizenry is one in which in which everyone has a capacity to make things better for their neighborhood, for their school, for their street and ultimately for their city.\u003c/p>\n\u003cp>\u003cstrong>It sounds like you’re defining not an arts program, but a public policy program.\u003c/strong>\u003c/p>\n\u003cp>You’re defining the program based on the impact you’re intending to have. It’s expanding art into sectors beyond artists. This will also include urban planners, the tech community, this will also include educators, designers, and architects, and citizens.\u003c/p>\n\u003cp>A civically engaged city is one where everyone votes. But beyond that, a civically engaged city is one where everybody has a say and a way into making things better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oregon Shakespeare Festival 2015: What to See, How to Eat, Where to Stay",
"headTitle": "Oregon Shakespeare Festival 2015: What to See, How to Eat, Where to Stay | KQED",
"content": "\u003cp>The internationally-renowned, 80-year-old \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> (OSF) isn’t really a festival in the traditional sense of the word. Like a Renaissance tragedy, it’s epically long — running this year from Feb. 27 to Nov. 1. And it doesn’t only focus on the works of William Shakespeare, as classics by other writers, musicals and new dramas complement the Bard’s titles.\u003c/p>\n\u003cp>Despite the misnomer, the high quality of OSF’s theatrical offerings and the bucolic nature of its surroundings draw playgoers from all over world each year, including many from the Bay Area. (Nearly a quarter of the audience comes from San Francisco and its surroundings, according to OSF data.)\u003c/p>\n\u003cp>Add to this the fact that Ashland, Oregon is among very few places in the world where you can get a discount at the local frozen yogurt shop simply by waving a theater ticket at the cash register, or have an in-depth conversation with a stranger in a bar about lighting design or the size of a lead actor’s codpiece, and you’ve got a compelling case to make the five-and-a-half-hour drive north.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oregon-shakespeare-festival-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Oregon Shakespeare Festival 2015’\u003c/h2>\n\u003cdiv class=\"event-desc\">The 80th anniversary season includes Shakespearean classics and new plays.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Nov. 1\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various venues around Ashland, Oregon\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oregon-shakespeare-festival-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s a gorgeous drive — and easy to do too, if you take a pit-stop in Chico for gas and a more leisurely break in Shasta City. Grab a cup of coffee and a muffin or wrap from \u003ca href=\"http://www.yaks.com/\" target=\"_blank\" rel=\"noopener\">Wassayak’s\u003c/a> (“Yak’s”) coffee house and wander along the main drag under the gaze of Mount Shasta, which looms at over 14,000 feet above sea level. Flying is also an option. Rogue Valley International-Medford Airport is 16 miles outside Ashland. Or if you prefer to travel more like Cleopatra or King Henry V, you can find a spot to park your private jet at Ashland Municipal Airport.\u003c/p>\n\u003cp>Ashland is a tourist city, fueled by people who hike, bike and raft by day and eat out at restaurants and see shows at night. As such, the little town offers dozens of places to stay at all budget levels. But book early. Ashland’s \u003ca href=\"https://www.airbnb.com\" target=\"_blank\" rel=\"noopener\">Airbandb\u003c/a> options were full up a few weeks before I made my trip.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I ended up at the quirky 1940s \u003ca href=\"http://manormotel.net/\" target=\"_blank\" rel=\"noopener\">Manor Motel \u003c/a>on the north side of town, a 10-minute walk from the OSF’s trio of theaters. A suite with cute period fixtures and an endearingly ramshackle private garden ran me $145 a night. If you feel like splashing out, check in at the well-appointed and centrally-located \u003ca href=\"http://www.ashlandspringshotel.com/\" target=\"_blank\" rel=\"noopener\">Ashland Springs Hotel\u003c/a>, built in 1925. (Rooms there cost up to $269.) At the other end of the spectrum, there’s \u003ca href=\"http://www.theashlandhostel.com/\" target=\"_blank\" rel=\"noopener\">The Ashland Hostel\u003c/a>, where if you plan far enough ahead, you can score a bunk bed in a dorm for only $28. It’s handily close to the theaters for families, singles and groups. And the price is right, given that tickets to see plays at the festival range from $30 to $120.\u003c/p>\n\u003cp>Then there’s the food. Some of my favorites from this year’s weekend of play-going include breakfast at \u003ca href=\"http://www.brothersrestaurant.net/\" target=\"_blank\" rel=\"noopener\">Brothers’\u003c/a> (excellent omelettes and hash browns), ribs and strong hard cider at \u003ca href=\"http://www.homestatebbq.com/\" target=\"_blank\" rel=\"noopener\">Home State BBQ\u003c/a>, \u003ca href=\"http://www.taj-indiancuisine.com/\" target=\"_blank\" rel=\"noopener\">Taj Indian Cuisine\u003c/a>‘s flavorful curries, the river view from the deck and the cheesily-named but tasty Shakespeare-themed cocktails at \u003ca href=\"http://oberonstavern.com/\" target=\"_blank\" rel=\"noopener\">Oberon’s Tavern\u003c/a>, coffee and pastries at \u003ca href=\"http://www.mixashland.com/\" target=\"_blank\" rel=\"noopener\">Mix Bakeshop\u003c/a> and \u003ca href=\"http://smithfieldsashland.com/\" target=\"_blank\" rel=\"noopener\">Smithfield’s\u003c/a> for the unmissable bacon beignets.\u003c/p>\n\u003cp>Now to the plays. This year’s 11 productions include, among others, Shakespeare’s \u003cem>Antony and Cleopatra\u003c/em>,\u003cem> Much Ado About Nothing\u003c/em> and \u003cem>Pericles\u003c/em>, Eugene O’Neill’s \u003cem>Long Day’s Journey Into Night\u003c/em>, a world premiere musical — \u003cem>Head Over Heels\u003c/em> — by \u003cem>Avenue Q\u003c/em> creator Jeff Whitty featuring the songs of 1980s girl punk band The Go-Go’s, and \u003cem>Sweat\u003c/em>, a new drama by Pulitzer Prize-winning playwright Lynn Nottage. There’s also free performances most nights of the week at OSF’s outdoor “Green Stage.” I was happy to catch a Chinese dance display one evening, and a local rock band the next before heading into the main venues (OSF has three auditoriums all located right next door to each other) for my ticketed shows.\u003c/p>\n\u003cp>As for those shows: I didn’t adore every single thing I saw during my weekend of theatrical bingeing, but the five mini reviews below indicate that this year’s festival is well worth the effort. I only wish I could have stuck around for all the productions I couldn’t pack into three days.\u003c/p>\n\u003cfigure id=\"attachment_10894373\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10894373 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-1180x786.jpg\" alt=\"A scene from 'Secret Love in Peach Blossom Land.' (Photo: Jenny Graham/Oregon Shakespeare Festival)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Secret Love in Peach Blossom Land.’ (Photo: Jenny Graham/Oregon Shakespeare Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>Secret Love in Peach Blossom Land\u003c/h3>\n\u003cp>Soon after American-born, Taiwan-based director Stan Lai’s play first appeared in the mid-1980s, the world started paying serious attention to Taiwanese theater. That’s no surprise: The conceit of the plot — which revolves around dueling theater companies trying to rehearse two very different productions in the wake of a farcical scheduling error which forces them to compete for space — might be stagey. But as a metaphor for the complexity, chaos and confusion that ensued in the years following Taiwan’s independence from China in 1949, it’s both deeply entertaining and intellectually chewy.\u003c/p>\n\u003cp>In “Secret Love,” one of the plays-within-the-play, young lovers tragically separated by conflict come together in old age to lament and reminisce. Meanwhile, the other play — a satirical take on a classical Chinese drama “A Chronicle of the Peach Blossom Land” by the eminent 4th century poet Tao Yuanming — is a comedy involving a cuckolded husband’s journey to a utopian land populated by flowering fruit trees and butterfly-rehabilitating hippies.\u003c/p>\n\u003cp>OSF’s staging, the first professional production of the play in the United States, deftly draws out the parallels between the two theatrical endeavors. Both involve love triangles and a yearning for an ultimately unattainable Shangri-La. The meta-theatrical content is at times a little heavy-handed. But the crunchy combination of slapstick comedy versus quiet emotion and ancient versus modern theatrical forms keeps us thinking long after the harassed stage manager shows up at the end to throw both casts out onto the street.\u003c/p>\n\u003cfigure id=\"attachment_10894374\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10894374 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-1180x787.jpg\" alt=\"Miss Adelaide (Robin Goodrin Nordli) self-diagnoses her situation. Photo by Jenny Graham, Oregon Shakespeare Festival.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Guys and Dolls.’ (Photo: Jenny Graham/Oregon Shakespeare Festival.)\u003c/figcaption>\u003c/figure>\n\u003ch3>Guys and Dolls\u003c/h3>\n\u003cp>\u003cem>Guys and Dolls\u003c/em> is a product of its time. The brassy 1950 musical based on several stories by Damon Runyon follows an improbable romance between a rapacious gambler and prim salvation army organizer. Throughout, women are relegated to the roles of housewife or whore while men do nothing but tell lies and waste money. Yet just as Nathan Detroit and his low-life cronies can’t help rolling the dice, it’s hard not to fall in love with composer and lyricist Frank Loesser’s bombastic show tunes, like “Luck be a Lady Tonight” and “Sit Down, You’re Rockin’ the Boat.”\u003c/p>\n\u003cp>OSF’s infectious production combines energetic ensemble scenes choreographed by Daniel Pelzig with magnetic solo performances. Among the standouts in the formidable ensemble cast are Jeremy Peter Johnson as huckster-with-a-heart Sky Masterson and Robin Goodrin Nordli’s Adelaide — a showgirl enduring a 14-year-long courtship that gives her a perpetual sinus infection rather than a lifetime of connubial bliss. Mary Zimmerman adds further smarts to the show: In her program notes, the director says that if there’s one thing that unites all of the characters it’s the desire to “find a home, a haven and familial love.” This vision adds a touch of universal pathos that helps even jaded contemporary audiences to connect with the old-fashioned work.\u003c/p>\n\u003cfigure id=\"attachment_10894377\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10894377 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-1180x785.jpg\" alt=\"The Oregon Shakespeare Festival. 2015. Sweat by Lynn Nottage. Directed by Kate Whoriskey. Scenic Design: John Lee Beatty. Costume Design: Jennifer Moeller. Lighting Design: Peter Kaczorowski. Video and Projections: Jeff Sugg. Sound Design: Michael Bodeen. Photo: Jenny Graham.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sweat.’ (Photo: Jenny Graham/Oregon Shakespeare Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>Sweat\u003c/h3>\n\u003cp>Lynn Nottage doesn’t shy away from difficult topics. The playwright’s 2008 drama \u003cem>Ruined\u003c/em> unflinchingly tackles the abuse of women during the Congolese civil war. With her new world premiere co-commissioned by OSF and Arena Stage in Washington DC, Nottage stays closer to home. Set in Reading, Pennsylvania, a post-industrial town ranked the poorest in the country by the 2011 census, \u003cem>Sweat\u003c/em> follows the misfortunes of a group of residents struggling to survive in a city where the main employer, a steel factory, is cutting costs.\u003c/p>\n\u003cp>Nottage, together with director Kate Whoriskey, conducted interviews with people in Reading to help shape the narrative. Yet despite the extensive background research and the high-stakes drama of the plot, which focuses on the lead up to a serious crime committed by two young men, one white and one black, the play feels as generic as John Lee Beatty’s set design of a neighborhood bar. From the vinyl upholstery on the seats to the sports memorabilia on the walls, this could be in any dive in any depressed North American city.\u003c/p>\n\u003cp>Similarly, Nottage has created symbols rather than characters. Oscar, a young Dominican busboy who hopes to improve his standard of living by getting a job at the factory, seems like a stand-in for so many disenfranchised Latino workers across the land; and Jason, an angry white supremacist whose main goal is to keep his job on the production line is similarly one-dimensional. Despite the play’s dramaturgical shortcomings, the cast manages to draw out the humanity in each character.\u003c/p>\n\u003cfigure id=\"attachment_10894378\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10894378 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-1180x787.jpg\" alt=\"A scene from Pericles. \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Pericles.’ (Photo: Jenny Graham/Oregon Shakespeare Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>Pericles\u003c/h3>\n\u003cp>Shakespeare’s romance, \u003cem>Pericles\u003c/em>, takes the theatergoer on a fantastical trip. Over the course of five acts that follow the rough and tumble of a prince’s seemingly endless voyage across storm-toss’d seas, the story visits so many different Mediterranean locations that it gives us whiplash. Multiple living characters are mistaken for corpses. And in perhaps the most improbable of the work’s many improbable moments, the title character’s daughter suddenly gets carried off by a bunch of marauding pirates. Theater scholars and companies find the play baffling, so it doesn’t often get produced. Yet for all of its madness, in the right hands, \u003cem>Pericles\u003c/em> can be a deeply moving experience.\u003c/p>\n\u003cp>In his staging for OSF, director Joseph Haj rightly rolls with the drama’s many madcap punches. He draws out the play’s tender meditation on the themes of love, loss and reconciliation while mining some scenes — even one or two that don’t seem all that funny on the page, like Pericles’ courtship of his soon-to-be-wife, Thaisa — for broad humor. Helmed by the poised yet vulnerable Wayne T. Carr as Pericles, the multi-faceted ensemble cast leads the audience through the drama’s many swings of mood and place with ease.\u003c/p>\n\u003cp>The only thing wearying about this otherwise satisfying dramatic journey, is that the director takes the play’s opening words — “To sing a song that old was sung” — a little too literally. Singing rather than speaking lines can have a powerful effect when used sparingly, but overdoing the music undercuts the emotion of the story.\u003c/p>\n\u003cfigure id=\"attachment_10894379\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10894379 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-1180x786.jpg\" alt=\"A scene from 'Much Ado About Nothing'\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Much Ado About Nothing.’ (Photo: Jenny Graham/Oregon Shakespeare Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>Much Ado About Nothing\u003c/h3>\n\u003cp>In Shakespeare’s plays, women who make trouble, like Beatrice in \u003cem>Much Ado About Nothing\u003c/em> and Kate in \u003cem>The Taming of the Shrew\u003c/em>, generally end up falling into line. But in Lileana Blain-Cruz’s thoughtful, boundary-pushing production of \u003cem>Much Ado\u003c/em>, it’s not Christiana Clark’s overbearing Beatrice who shapes our view of femininity, so much as the performers behind a couple of the stormy comedy’s less prominent characters.\u003c/p>\n\u003cp>As Hero, the “short daughter” of the powerful Governor of Messina, Leonato, Leah Anderson quietly yet passionately displays her displeasure with how she’s treated by the men who surround her and the patriarchal system that seeks to put her in her place as a wealthy, single woman of marriageable age.\u003c/p>\n\u003cp>In one of the OSF’s most innovative casting decisions to date, the wheelchair-based actress Regan Linton brings fire and ire to the role of Don John, who vindictively sets out to destroy the proposed marriage between Hero and the dashing young soldier Claudio. The part is normally played by a man. But in this production, Don John is a female soldier reeling from the effects of post traumatic stress syndrome (PTSD). Linton’s magnetic take on the character gives definition to the shady motives of her character.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The combined impact of all this female rebellion is one of utter disruption to the old world order of courtly love and military might. Set designer Scott Bradley evokes this idea in a visually powerful way towards the end of the play, when the hundreds of dangling floral garlands that have been hanging from the ceiling on a trellis of army camouflage netting all at once plummet to the floor. Far from being a fluffy love story, this \u003cem>Much Ado\u003c/em> is dark, dense and fresh.\u003c/p>\n\n",
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"description": "The internationally-renowned, 80-year-old Oregon Shakespeare Festival (OSF) isn’t really a festival in the traditional sense of the word. Like a Renaissance tragedy, it's epically long -- running this year from Feb. 27 to Nov. 1. And it doesn’t only focus on the works of William Shakespeare, as classics by other writers, musicals and new dramas complement the Bard's",
"title": "Oregon Shakespeare Festival 2015: What to See, How to Eat, Where to Stay | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The internationally-renowned, 80-year-old \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> (OSF) isn’t really a festival in the traditional sense of the word. Like a Renaissance tragedy, it’s epically long — running this year from Feb. 27 to Nov. 1. And it doesn’t only focus on the works of William Shakespeare, as classics by other writers, musicals and new dramas complement the Bard’s titles.\u003c/p>\n\u003cp>Despite the misnomer, the high quality of OSF’s theatrical offerings and the bucolic nature of its surroundings draw playgoers from all over world each year, including many from the Bay Area. (Nearly a quarter of the audience comes from San Francisco and its surroundings, according to OSF data.)\u003c/p>\n\u003cp>Add to this the fact that Ashland, Oregon is among very few places in the world where you can get a discount at the local frozen yogurt shop simply by waving a theater ticket at the cash register, or have an in-depth conversation with a stranger in a bar about lighting design or the size of a lead actor’s codpiece, and you’ve got a compelling case to make the five-and-a-half-hour drive north.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oregon-shakespeare-festival-2015/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Oregon Shakespeare Festival 2015’\u003c/h2>\n\u003cdiv class=\"event-desc\">The 80th anniversary season includes Shakespearean classics and new plays.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Nov. 1\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various venues around Ashland, Oregon\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oregon-shakespeare-festival-2015/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s a gorgeous drive — and easy to do too, if you take a pit-stop in Chico for gas and a more leisurely break in Shasta City. Grab a cup of coffee and a muffin or wrap from \u003ca href=\"http://www.yaks.com/\" target=\"_blank\" rel=\"noopener\">Wassayak’s\u003c/a> (“Yak’s”) coffee house and wander along the main drag under the gaze of Mount Shasta, which looms at over 14,000 feet above sea level. Flying is also an option. Rogue Valley International-Medford Airport is 16 miles outside Ashland. Or if you prefer to travel more like Cleopatra or King Henry V, you can find a spot to park your private jet at Ashland Municipal Airport.\u003c/p>\n\u003cp>Ashland is a tourist city, fueled by people who hike, bike and raft by day and eat out at restaurants and see shows at night. As such, the little town offers dozens of places to stay at all budget levels. But book early. Ashland’s \u003ca href=\"https://www.airbnb.com\" target=\"_blank\" rel=\"noopener\">Airbandb\u003c/a> options were full up a few weeks before I made my trip.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I ended up at the quirky 1940s \u003ca href=\"http://manormotel.net/\" target=\"_blank\" rel=\"noopener\">Manor Motel \u003c/a>on the north side of town, a 10-minute walk from the OSF’s trio of theaters. A suite with cute period fixtures and an endearingly ramshackle private garden ran me $145 a night. If you feel like splashing out, check in at the well-appointed and centrally-located \u003ca href=\"http://www.ashlandspringshotel.com/\" target=\"_blank\" rel=\"noopener\">Ashland Springs Hotel\u003c/a>, built in 1925. (Rooms there cost up to $269.) At the other end of the spectrum, there’s \u003ca href=\"http://www.theashlandhostel.com/\" target=\"_blank\" rel=\"noopener\">The Ashland Hostel\u003c/a>, where if you plan far enough ahead, you can score a bunk bed in a dorm for only $28. It’s handily close to the theaters for families, singles and groups. And the price is right, given that tickets to see plays at the festival range from $30 to $120.\u003c/p>\n\u003cp>Then there’s the food. Some of my favorites from this year’s weekend of play-going include breakfast at \u003ca href=\"http://www.brothersrestaurant.net/\" target=\"_blank\" rel=\"noopener\">Brothers’\u003c/a> (excellent omelettes and hash browns), ribs and strong hard cider at \u003ca href=\"http://www.homestatebbq.com/\" target=\"_blank\" rel=\"noopener\">Home State BBQ\u003c/a>, \u003ca href=\"http://www.taj-indiancuisine.com/\" target=\"_blank\" rel=\"noopener\">Taj Indian Cuisine\u003c/a>‘s flavorful curries, the river view from the deck and the cheesily-named but tasty Shakespeare-themed cocktails at \u003ca href=\"http://oberonstavern.com/\" target=\"_blank\" rel=\"noopener\">Oberon’s Tavern\u003c/a>, coffee and pastries at \u003ca href=\"http://www.mixashland.com/\" target=\"_blank\" rel=\"noopener\">Mix Bakeshop\u003c/a> and \u003ca href=\"http://smithfieldsashland.com/\" target=\"_blank\" rel=\"noopener\">Smithfield’s\u003c/a> for the unmissable bacon beignets.\u003c/p>\n\u003cp>Now to the plays. This year’s 11 productions include, among others, Shakespeare’s \u003cem>Antony and Cleopatra\u003c/em>,\u003cem> Much Ado About Nothing\u003c/em> and \u003cem>Pericles\u003c/em>, Eugene O’Neill’s \u003cem>Long Day’s Journey Into Night\u003c/em>, a world premiere musical — \u003cem>Head Over Heels\u003c/em> — by \u003cem>Avenue Q\u003c/em> creator Jeff Whitty featuring the songs of 1980s girl punk band The Go-Go’s, and \u003cem>Sweat\u003c/em>, a new drama by Pulitzer Prize-winning playwright Lynn Nottage. There’s also free performances most nights of the week at OSF’s outdoor “Green Stage.” I was happy to catch a Chinese dance display one evening, and a local rock band the next before heading into the main venues (OSF has three auditoriums all located right next door to each other) for my ticketed shows.\u003c/p>\n\u003cp>As for those shows: I didn’t adore every single thing I saw during my weekend of theatrical bingeing, but the five mini reviews below indicate that this year’s festival is well worth the effort. I only wish I could have stuck around for all the productions I couldn’t pack into three days.\u003c/p>\n\u003cfigure id=\"attachment_10894373\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10894373 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-1180x786.jpg\" alt=\"A scene from 'Secret Love in Peach Blossom Land.' (Photo: Jenny Graham/Oregon Shakespeare Festival)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Secret_Love_1_jg_0093-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Secret Love in Peach Blossom Land.’ (Photo: Jenny Graham/Oregon Shakespeare Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>Secret Love in Peach Blossom Land\u003c/h3>\n\u003cp>Soon after American-born, Taiwan-based director Stan Lai’s play first appeared in the mid-1980s, the world started paying serious attention to Taiwanese theater. That’s no surprise: The conceit of the plot — which revolves around dueling theater companies trying to rehearse two very different productions in the wake of a farcical scheduling error which forces them to compete for space — might be stagey. But as a metaphor for the complexity, chaos and confusion that ensued in the years following Taiwan’s independence from China in 1949, it’s both deeply entertaining and intellectually chewy.\u003c/p>\n\u003cp>In “Secret Love,” one of the plays-within-the-play, young lovers tragically separated by conflict come together in old age to lament and reminisce. Meanwhile, the other play — a satirical take on a classical Chinese drama “A Chronicle of the Peach Blossom Land” by the eminent 4th century poet Tao Yuanming — is a comedy involving a cuckolded husband’s journey to a utopian land populated by flowering fruit trees and butterfly-rehabilitating hippies.\u003c/p>\n\u003cp>OSF’s staging, the first professional production of the play in the United States, deftly draws out the parallels between the two theatrical endeavors. Both involve love triangles and a yearning for an ultimately unattainable Shangri-La. The meta-theatrical content is at times a little heavy-handed. But the crunchy combination of slapstick comedy versus quiet emotion and ancient versus modern theatrical forms keeps us thinking long after the harassed stage manager shows up at the end to throw both casts out onto the street.\u003c/p>\n\u003cfigure id=\"attachment_10894374\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10894374 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-1180x787.jpg\" alt=\"Miss Adelaide (Robin Goodrin Nordli) self-diagnoses her situation. Photo by Jenny Graham, Oregon Shakespeare Festival.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Guys_2_jg_1151-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Guys and Dolls.’ (Photo: Jenny Graham/Oregon Shakespeare Festival.)\u003c/figcaption>\u003c/figure>\n\u003ch3>Guys and Dolls\u003c/h3>\n\u003cp>\u003cem>Guys and Dolls\u003c/em> is a product of its time. The brassy 1950 musical based on several stories by Damon Runyon follows an improbable romance between a rapacious gambler and prim salvation army organizer. Throughout, women are relegated to the roles of housewife or whore while men do nothing but tell lies and waste money. Yet just as Nathan Detroit and his low-life cronies can’t help rolling the dice, it’s hard not to fall in love with composer and lyricist Frank Loesser’s bombastic show tunes, like “Luck be a Lady Tonight” and “Sit Down, You’re Rockin’ the Boat.”\u003c/p>\n\u003cp>OSF’s infectious production combines energetic ensemble scenes choreographed by Daniel Pelzig with magnetic solo performances. Among the standouts in the formidable ensemble cast are Jeremy Peter Johnson as huckster-with-a-heart Sky Masterson and Robin Goodrin Nordli’s Adelaide — a showgirl enduring a 14-year-long courtship that gives her a perpetual sinus infection rather than a lifetime of connubial bliss. Mary Zimmerman adds further smarts to the show: In her program notes, the director says that if there’s one thing that unites all of the characters it’s the desire to “find a home, a haven and familial love.” This vision adds a touch of universal pathos that helps even jaded contemporary audiences to connect with the old-fashioned work.\u003c/p>\n\u003cfigure id=\"attachment_10894377\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10894377 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-1180x785.jpg\" alt=\"The Oregon Shakespeare Festival. 2015. Sweat by Lynn Nottage. Directed by Kate Whoriskey. Scenic Design: John Lee Beatty. Costume Design: Jennifer Moeller. Lighting Design: Peter Kaczorowski. Video and Projections: Jeff Sugg. Sound Design: Michael Bodeen. Photo: Jenny Graham.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Sweat_1_jg_0088-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sweat.’ (Photo: Jenny Graham/Oregon Shakespeare Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>Sweat\u003c/h3>\n\u003cp>Lynn Nottage doesn’t shy away from difficult topics. The playwright’s 2008 drama \u003cem>Ruined\u003c/em> unflinchingly tackles the abuse of women during the Congolese civil war. With her new world premiere co-commissioned by OSF and Arena Stage in Washington DC, Nottage stays closer to home. Set in Reading, Pennsylvania, a post-industrial town ranked the poorest in the country by the 2011 census, \u003cem>Sweat\u003c/em> follows the misfortunes of a group of residents struggling to survive in a city where the main employer, a steel factory, is cutting costs.\u003c/p>\n\u003cp>Nottage, together with director Kate Whoriskey, conducted interviews with people in Reading to help shape the narrative. Yet despite the extensive background research and the high-stakes drama of the plot, which focuses on the lead up to a serious crime committed by two young men, one white and one black, the play feels as generic as John Lee Beatty’s set design of a neighborhood bar. From the vinyl upholstery on the seats to the sports memorabilia on the walls, this could be in any dive in any depressed North American city.\u003c/p>\n\u003cp>Similarly, Nottage has created symbols rather than characters. Oscar, a young Dominican busboy who hopes to improve his standard of living by getting a job at the factory, seems like a stand-in for so many disenfranchised Latino workers across the land; and Jason, an angry white supremacist whose main goal is to keep his job on the production line is similarly one-dimensional. Despite the play’s dramaturgical shortcomings, the cast manages to draw out the humanity in each character.\u003c/p>\n\u003cfigure id=\"attachment_10894378\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10894378 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-1180x787.jpg\" alt=\"A scene from Pericles. \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Pericles_2_jg_2056-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Pericles.’ (Photo: Jenny Graham/Oregon Shakespeare Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>Pericles\u003c/h3>\n\u003cp>Shakespeare’s romance, \u003cem>Pericles\u003c/em>, takes the theatergoer on a fantastical trip. Over the course of five acts that follow the rough and tumble of a prince’s seemingly endless voyage across storm-toss’d seas, the story visits so many different Mediterranean locations that it gives us whiplash. Multiple living characters are mistaken for corpses. And in perhaps the most improbable of the work’s many improbable moments, the title character’s daughter suddenly gets carried off by a bunch of marauding pirates. Theater scholars and companies find the play baffling, so it doesn’t often get produced. Yet for all of its madness, in the right hands, \u003cem>Pericles\u003c/em> can be a deeply moving experience.\u003c/p>\n\u003cp>In his staging for OSF, director Joseph Haj rightly rolls with the drama’s many madcap punches. He draws out the play’s tender meditation on the themes of love, loss and reconciliation while mining some scenes — even one or two that don’t seem all that funny on the page, like Pericles’ courtship of his soon-to-be-wife, Thaisa — for broad humor. Helmed by the poised yet vulnerable Wayne T. Carr as Pericles, the multi-faceted ensemble cast leads the audience through the drama’s many swings of mood and place with ease.\u003c/p>\n\u003cp>The only thing wearying about this otherwise satisfying dramatic journey, is that the director takes the play’s opening words — “To sing a song that old was sung” — a little too literally. Singing rather than speaking lines can have a powerful effect when used sparingly, but overdoing the music undercuts the emotion of the story.\u003c/p>\n\u003cfigure id=\"attachment_10894379\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10894379 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-1180x786.jpg\" alt=\"A scene from 'Much Ado About Nothing'\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2015_Much_Ado_2_jg_1153-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Much Ado About Nothing.’ (Photo: Jenny Graham/Oregon Shakespeare Festival)\u003c/figcaption>\u003c/figure>\n\u003ch3>Much Ado About Nothing\u003c/h3>\n\u003cp>In Shakespeare’s plays, women who make trouble, like Beatrice in \u003cem>Much Ado About Nothing\u003c/em> and Kate in \u003cem>The Taming of the Shrew\u003c/em>, generally end up falling into line. But in Lileana Blain-Cruz’s thoughtful, boundary-pushing production of \u003cem>Much Ado\u003c/em>, it’s not Christiana Clark’s overbearing Beatrice who shapes our view of femininity, so much as the performers behind a couple of the stormy comedy’s less prominent characters.\u003c/p>\n\u003cp>As Hero, the “short daughter” of the powerful Governor of Messina, Leonato, Leah Anderson quietly yet passionately displays her displeasure with how she’s treated by the men who surround her and the patriarchal system that seeks to put her in her place as a wealthy, single woman of marriageable age.\u003c/p>\n\u003cp>In one of the OSF’s most innovative casting decisions to date, the wheelchair-based actress Regan Linton brings fire and ire to the role of Don John, who vindictively sets out to destroy the proposed marriage between Hero and the dashing young soldier Claudio. The part is normally played by a man. But in this production, Don John is a female soldier reeling from the effects of post traumatic stress syndrome (PTSD). Linton’s magnetic take on the character gives definition to the shady motives of her character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2080374/\" target=\"_blank\" rel=\"noopener\">Steve Jobs\u003c/a>\u003c/em> the movie was recently filmed at San Francisco Opera, and now a Steve Jobs opera by a Bay Area-based composer will receive its world premiere in Santa Fe. The world-renowned Santa Fe Opera announced the commission of an opera about the iconic Bay Area tech entrepreneur for its 2017 season. \u003cem>The (R)evolution of Steve Jobs\u003c/em> will be composed by Burlingame resident \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> with a libretto from \u003ca href=\"http://www.markcampbellwords.com/\">Mark Campbell\u003c/a>.\u003c/p>\n\u003cp>Bates is famous as a track suit wearing DJ and the second most performed living composer after John Adams, while Campbell is best known as the librettist for the opera \u003cem>\u003ca href=\"http://www.kevinputs.com/SilentNight/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>\u003c/em>, which won a Pulitzer prize for composer Kevin Puts in 2012. Bates answered some questions about the Jobs work, his first opera.\u003c/p>\n\u003cp>\u003cstrong>What is it about Steve Jobs? Sure, he was charismatic and he was instrumental in getting Apple’s sleek products in everybody’s pockets. But isn’t there something vaguely ironic about an opera about someone whose work routinely interrupts classical music performances?\u003c/strong>\u003c/p>\n\u003cp>The ubiquity of his devices speaks to how much he changed human communication. How can you simplify the richness of our lives onto sleek little devices when people are so messy? That tension lies at the heart of the opera, as does Jobs’ journey from hippie to mogul to — ultimately — a someone with a deeper understanding of true human connection.\u003c/p>\n\u003cp>\u003cstrong>The opera will be workshopped this September in San Francisco in collaboration with Cal Performances at UC Berkeley, and with additional support from San Francisco Conservatory of Music. How does that work? Does that mean you will be working with students from those organizations?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The principal roles will be cast from Santa Fe Opera’s stunning apprentice program, and the ensemble singers will be SF Conservatory students. So yes, there will be a mix of students and professionals. The workshop will be private, I might add, simply because we want some privacy to make mistakes.\u003c/p>\n\u003cp>\u003cstrong>What is the structure of this opera? How many principal characters do you envision for the work? Will there be a chorus?\u003c/strong>\u003c/p>\n\u003cp>We didn’t see the need for a chorus in an opera that takes place, in many scenes at least, in a garage with a handful of people. The principal roles are Steve, his wife Laurene, Kobun [Kobun Chino Otogowa, Jobs’ spiritual advisor], Woz [early business partner Steve Wozniak], and girlfriend Chrisann [Brennan].\u003c/p>\n\u003cp>\u003cstrong>You use electronic sounds in your work and often perform with orchestras. Do you anticipate being in the pit for this opera?\u003c/strong>\u003c/p>\n\u003cp>Absolutely! I think many musicians see the opera pit as a magical place — unless of course you’ve played a thousand Broadway shows, in which case it’s the pits.\u003c/p>\n\u003cp>\u003cstrong>Santa Fe Opera performs at a stunning open-air theater in the desert near the town of Santa Fe. Are there special considerations for composing for this space?\u003c/strong>\u003c/p>\n\u003cp>There are some scenic opportunities. For example, the scenes between Jobs and spiritual advisor Kobun would be wonderful with a desert backdrop.\u003c/p>\n\u003cp>\u003cstrong>Are there contemporary operas that you particularly like or living composers you especially admire? \u003c/strong>\u003c/p>\n\u003cp>I like operas about people. Not products, not ideas. I like roles, and I like memorable music. The music needn’t be simple or tonal, but if it is distinctive enough to be remembered, the opera can impact you much more deeply. [Gyorgy] Ligeti has a wonderful opera called \u003cem>Le Grand Macabre\u003c/em>, and, on the other end of the stylistic spectrum, Mark Adamo has created stunning works that marry words and music so perfectly. Most of all, I love the operas of Benjamin Britten. Innovative music can bring to life compelling stories that haunt you.\u003c/p>\n\u003cp>\u003ci>Listen to a report filed by KQED’s Peter Jon Shuler about the Santa Fe Opera commissioning the opera about Jobs:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218132185″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2080374/\" target=\"_blank\" rel=\"noopener\">Steve Jobs\u003c/a>\u003c/em> the movie was recently filmed at San Francisco Opera, and now a Steve Jobs opera by a Bay Area-based composer will receive its world premiere in Santa Fe. The world-renowned Santa Fe Opera announced the commission of an opera about the iconic Bay Area tech entrepreneur for its 2017 season. \u003cem>The (R)evolution of Steve Jobs\u003c/em> will be composed by Burlingame resident \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> with a libretto from \u003ca href=\"http://www.markcampbellwords.com/\">Mark Campbell\u003c/a>.\u003c/p>\n\u003cp>Bates is famous as a track suit wearing DJ and the second most performed living composer after John Adams, while Campbell is best known as the librettist for the opera \u003cem>\u003ca href=\"http://www.kevinputs.com/SilentNight/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>\u003c/em>, which won a Pulitzer prize for composer Kevin Puts in 2012. Bates answered some questions about the Jobs work, his first opera.\u003c/p>\n\u003cp>\u003cstrong>What is it about Steve Jobs? Sure, he was charismatic and he was instrumental in getting Apple’s sleek products in everybody’s pockets. But isn’t there something vaguely ironic about an opera about someone whose work routinely interrupts classical music performances?\u003c/strong>\u003c/p>\n\u003cp>The ubiquity of his devices speaks to how much he changed human communication. How can you simplify the richness of our lives onto sleek little devices when people are so messy? That tension lies at the heart of the opera, as does Jobs’ journey from hippie to mogul to — ultimately — a someone with a deeper understanding of true human connection.\u003c/p>\n\u003cp>\u003cstrong>The opera will be workshopped this September in San Francisco in collaboration with Cal Performances at UC Berkeley, and with additional support from San Francisco Conservatory of Music. How does that work? Does that mean you will be working with students from those organizations?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The principal roles will be cast from Santa Fe Opera’s stunning apprentice program, and the ensemble singers will be SF Conservatory students. So yes, there will be a mix of students and professionals. The workshop will be private, I might add, simply because we want some privacy to make mistakes.\u003c/p>\n\u003cp>\u003cstrong>What is the structure of this opera? How many principal characters do you envision for the work? Will there be a chorus?\u003c/strong>\u003c/p>\n\u003cp>We didn’t see the need for a chorus in an opera that takes place, in many scenes at least, in a garage with a handful of people. The principal roles are Steve, his wife Laurene, Kobun [Kobun Chino Otogowa, Jobs’ spiritual advisor], Woz [early business partner Steve Wozniak], and girlfriend Chrisann [Brennan].\u003c/p>\n\u003cp>\u003cstrong>You use electronic sounds in your work and often perform with orchestras. Do you anticipate being in the pit for this opera?\u003c/strong>\u003c/p>\n\u003cp>Absolutely! I think many musicians see the opera pit as a magical place — unless of course you’ve played a thousand Broadway shows, in which case it’s the pits.\u003c/p>\n\u003cp>\u003cstrong>Santa Fe Opera performs at a stunning open-air theater in the desert near the town of Santa Fe. Are there special considerations for composing for this space?\u003c/strong>\u003c/p>\n\u003cp>There are some scenic opportunities. For example, the scenes between Jobs and spiritual advisor Kobun would be wonderful with a desert backdrop.\u003c/p>\n\u003cp>\u003cstrong>Are there contemporary operas that you particularly like or living composers you especially admire? \u003c/strong>\u003c/p>\n\u003cp>I like operas about people. Not products, not ideas. I like roles, and I like memorable music. The music needn’t be simple or tonal, but if it is distinctive enough to be remembered, the opera can impact you much more deeply. [Gyorgy] Ligeti has a wonderful opera called \u003cem>Le Grand Macabre\u003c/em>, and, on the other end of the stylistic spectrum, Mark Adamo has created stunning works that marry words and music so perfectly. Most of all, I love the operas of Benjamin Britten. Innovative music can bring to life compelling stories that haunt you.\u003c/p>\n\u003cp>\u003ci>Listen to a report filed by KQED’s Peter Jon Shuler about the Santa Fe Opera commissioning the opera about Jobs:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/218132185″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/218132185″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "West Edge Presents Operas in Unexpected Oakland Locations",
"headTitle": "West Edge Presents Operas in Unexpected Oakland Locations | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/west-edge-opera-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘West Edge Opera Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">The now-nomadic opera company presents a trio of operas as part of this year’s festival.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various locations in Oakland\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/west-edge-opera-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Hardship seems to have only made West Edge Opera better, as evidenced by the brilliant opening of a three-opera festival last weekend. The operas are all unusual choices performed in unconventional locations.\u003c/p>\n\u003cp>Formerly known as Berkeley Opera, the company moved to El Cerrito in 2009 and subsequently changed names after being squeezed out of the Julia Morgan Theater because of scheduling conflicts. Emblematic of the Bay Area’s current rental crisis, West Edge was then priced out of a permanent venue in 2013.\u003c/p>\n\u003cp>The company is evidently making the most of its nomadic state, presenting three fine productions in three different Oakland venues that succeed because of — rather than in spite of — the awkward spaces in which the works are staged.\u003c/p>\n\u003cp>The festival began with Alban Berg’s \u003cem>Lulu\u003c/em> at a decaying Beaux-Arts train station in West Oakland on Saturday night.\u003cstrong> \u003c/strong>The 1935 opera centers on a predatory but charismatic woman who uses people for her own gain but ends up spiraling into prostitution herself. The vivid production features intense singing over a swirl of chaotic playing.\u003c/p>\n\u003cp>The deserted 16th Street Train Station suits Berg’s opera. Both the setting and the work are striking, yet neither could be described as agreeable. There is a beauty in the disrepair of the building as there is in the luridness of the opera.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The set is spare. There is one main room and two smaller ones upstage, with pink curtains to change some of the scenes. Titles projected above the stage do much of the work of letting us know when and where we are. Adding to the overall sense of economy is a black and white film that condenses the narrative such that some of the music can be cut. This keeps the length of the opera to under three hours.\u003c/p>\n\u003cp>The space looks cavernous, yet the singing still projects well. In the role of Lulu, Emma McNairy has clearly come into her own. Her commitment to the character is unequivocal and her sound is agile despite how easily those piercing high notes could have rung shrill or hollow.\u003cem>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>Presented in a new reduced orchestration, Berg’s atonal music is challenging and the melodic lines are not always obvious. Music Director Jonathan Khuner leads a boisterous orchestra seated on the same level as the audience. \u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>No less captivating is the second opera in the festival, the West Coast premiere of Laura Kaminsky’s \u003cem>As One\u003c/em>. Held at the Oakland Metro, the home of erstwhile Oakland Opera Theater, this chamber opera requires the minimalistic forces of just two singers and a string quartet.\u003c/p>\n\u003cp>Based on the life of transgender filmmaker Kimberly Reed, the opera’s two singers play one character that comes to be named Hannah. We follow her from adolescence to young adulthood. A film by Reed, whose work has been shown at the Telluride Film Festival, also appears during the opera.\u003c/p>\n\u003cp>Artistic Director Mark Streshinsky’s staging makes efficient use of the space. The Oakland Metro is intimately appropriate for a work of this scale. But there is little air and so the venue becomes uncomfortably warm\u003cstrong>. \u003c/strong>The discomfort of audience parallels the distress of the main character.\u003c/p>\n\u003cp>The stage employs nine platforms arranged around the string players and conductor — The Friction string quartet and Bryan Nies — who sit in the center of the proceedings. This leaves mezzo-soprano Brenda Patterson (Hannah After) and baritone Dan Kempson (Hannah Before) to gamely hop about the platforms around the strident playing. The warm voices temper the strings, though both singers can fill the whole room.\u003c/p>\n\u003cp>Ten actors fill out the scenes and aid set changes, as does the film displayed on five upstage screens. The addition of video content can be overwhelming, as the voices alone are potent without the imagery\u003cstrong>. \u003c/strong> The immediacy of this in close quarters holds the attention.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>The tightly-wrought piece lasts a mere 80 minutes. The composer and librettists strike a good balance: the opera is serious, but there are humorous moments throughout. The protagonist is very human without being overly sentimentalized.\u003c/p>\n\u003cp>The final opera of the festival, Monteverdi’s \u003cem>Il ritorno d’Ulisse in Patria\u003c/em>, opens at American Steel Studios in Oakland this coming Saturday. Held in a former pipe factory, this Baroque work based on Homer’s \u003cem>Odyssey\u003c/em> will be performed in collaboration with MusicSources, a non-profit devoted to historically informed performances.\u003c/p>\n\u003cp>The gritty industrial space seems like it might be at odds with a 17th century piece. Given director Streshinsky’s previous unconventional Baroque productions, such as a comedic \u003cem>Xerxes\u003c/em> in 2010, he will embrace the contrasts. \u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/west-edge-opera-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘West Edge Opera Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">The now-nomadic opera company presents a trio of operas as part of this year’s festival.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various locations in Oakland\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/west-edge-opera-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Hardship seems to have only made West Edge Opera better, as evidenced by the brilliant opening of a three-opera festival last weekend. The operas are all unusual choices performed in unconventional locations.\u003c/p>\n\u003cp>Formerly known as Berkeley Opera, the company moved to El Cerrito in 2009 and subsequently changed names after being squeezed out of the Julia Morgan Theater because of scheduling conflicts. Emblematic of the Bay Area’s current rental crisis, West Edge was then priced out of a permanent venue in 2013.\u003c/p>\n\u003cp>The company is evidently making the most of its nomadic state, presenting three fine productions in three different Oakland venues that succeed because of — rather than in spite of — the awkward spaces in which the works are staged.\u003c/p>\n\u003cp>The festival began with Alban Berg’s \u003cem>Lulu\u003c/em> at a decaying Beaux-Arts train station in West Oakland on Saturday night.\u003cstrong> \u003c/strong>The 1935 opera centers on a predatory but charismatic woman who uses people for her own gain but ends up spiraling into prostitution herself. The vivid production features intense singing over a swirl of chaotic playing.\u003c/p>\n\u003cp>The deserted 16th Street Train Station suits Berg’s opera. Both the setting and the work are striking, yet neither could be described as agreeable. There is a beauty in the disrepair of the building as there is in the luridness of the opera.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The set is spare. There is one main room and two smaller ones upstage, with pink curtains to change some of the scenes. Titles projected above the stage do much of the work of letting us know when and where we are. Adding to the overall sense of economy is a black and white film that condenses the narrative such that some of the music can be cut. This keeps the length of the opera to under three hours.\u003c/p>\n\u003cp>The space looks cavernous, yet the singing still projects well. In the role of Lulu, Emma McNairy has clearly come into her own. Her commitment to the character is unequivocal and her sound is agile despite how easily those piercing high notes could have rung shrill or hollow.\u003cem>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>Presented in a new reduced orchestration, Berg’s atonal music is challenging and the melodic lines are not always obvious. Music Director Jonathan Khuner leads a boisterous orchestra seated on the same level as the audience. \u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>No less captivating is the second opera in the festival, the West Coast premiere of Laura Kaminsky’s \u003cem>As One\u003c/em>. Held at the Oakland Metro, the home of erstwhile Oakland Opera Theater, this chamber opera requires the minimalistic forces of just two singers and a string quartet.\u003c/p>\n\u003cp>Based on the life of transgender filmmaker Kimberly Reed, the opera’s two singers play one character that comes to be named Hannah. We follow her from adolescence to young adulthood. A film by Reed, whose work has been shown at the Telluride Film Festival, also appears during the opera.\u003c/p>\n\u003cp>Artistic Director Mark Streshinsky’s staging makes efficient use of the space. The Oakland Metro is intimately appropriate for a work of this scale. But there is little air and so the venue becomes uncomfortably warm\u003cstrong>. \u003c/strong>The discomfort of audience parallels the distress of the main character.\u003c/p>\n\u003cp>The stage employs nine platforms arranged around the string players and conductor — The Friction string quartet and Bryan Nies — who sit in the center of the proceedings. This leaves mezzo-soprano Brenda Patterson (Hannah After) and baritone Dan Kempson (Hannah Before) to gamely hop about the platforms around the strident playing. The warm voices temper the strings, though both singers can fill the whole room.\u003c/p>\n\u003cp>Ten actors fill out the scenes and aid set changes, as does the film displayed on five upstage screens. The addition of video content can be overwhelming, as the voices alone are potent without the imagery\u003cstrong>. \u003c/strong> The immediacy of this in close quarters holds the attention.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>The tightly-wrought piece lasts a mere 80 minutes. The composer and librettists strike a good balance: the opera is serious, but there are humorous moments throughout. The protagonist is very human without being overly sentimentalized.\u003c/p>\n\u003cp>The final opera of the festival, Monteverdi’s \u003cem>Il ritorno d’Ulisse in Patria\u003c/em>, opens at American Steel Studios in Oakland this coming Saturday. Held in a former pipe factory, this Baroque work based on Homer’s \u003cem>Odyssey\u003c/em> will be performed in collaboration with MusicSources, a non-profit devoted to historically informed performances.\u003c/p>\n\u003cp>The gritty industrial space seems like it might be at odds with a 17th century piece. Given director Streshinsky’s previous unconventional Baroque productions, such as a comedic \u003cem>Xerxes\u003c/em> in 2010, he will embrace the contrasts. \u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Docudrama Explores how Juárez Became the Murder Capital of the World",
"headTitle": "Docudrama Explores how Juárez Became the Murder Capital of the World | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/juarez-a-documentary-mythology/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Juarez: A Documentary Mythology’\u003c/h2>\n\u003cdiv class=\"event-desc\">A multimedia drama about the city of Juarez, Mexico, from New York and Abu Dhabi-based Theater Mitu, makes its Bay Area premiere.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through July 26\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Z Spacee\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/juarez-a-documentary-mythology/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Americans who have heard of Ciudad Juárez might think of the northern Mexican city—lying just over the Rio Grande from its American sister, El Paso—in purely negative terms: a ferocious battleground of the Mexican Drug War; site of a horrifying epidemic of unsolved murders of young women (more than 1000 cases since 1993); even a beleaguered poster child for the The North American Free Trade Agreement (NAFTA) and the social tumult brought in its wake of foreign factories or \u003cem>maquiladoras\u003c/em>.\u003c/p>\n\u003cp>New York and Abu Dhabi–based Theater Mitu’s\u003cem> Juárez: A Documentary Mythology\u003c/em>, which opened last night at Z Space, begins somewhat unexpectedly, then, with the sound of a film projector and the joyful images of a home movie.\u003c/p>\n\u003cp>A male voice with firsthand knowledge narrates what we see: an elaborate coronation of his sister as “queen” of the local Lions Club. This is Juárez as family, community and, we are told, pure theater, orchestrated “as usual” by the narrator’s father.\u003c/p>\n\u003cp>The home movie continues for a minute or two. But the sound of the projector quickly fades (since the film has long ago been transferred to video). The sound is theater too, and marks a certain distance, even as the images retain history, facts, memory.\u003c/p>\n\u003cp>We’re being introduced to a combination of artifice and artifact, which here goes by the name “documentary mythology” and will characterize the production’s increasingly elaborate attempt to bring us somewhere we might otherwise find inaccessible, obscure, even dangerous; a place we might otherwise avoid or dismiss.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But\u003cb> \u003c/b>to turn away from Juárez is to dismiss more than the home movies of Rubén Polendo, \u003cem>Juárez\u003c/em>’s director and Theater Mitu’s founding artistic director. As we come to realize over the next 100 minutes, it’s to dismiss some reflection of ourselves.\u003c/p>\n\u003cp>Appropriate to the production’s hometown impetus, the stage has a homemade look: creased translucent tarps stretched out for screens, microphones and cables lying around, laptops and lamps. It’s a makeshift and fluid set of properties manipulated by an ensemble cast of six (Kayla Asbel, Denis Butkus, Aysan Celik, Adam Cochran, Michael Littig and Justin Nestor), tasked with showing us just how close Ciudad Juárez really is.\u003c/p>\n\u003cfigure id=\"attachment_10858288\" class=\"wp-caption alignright\" style=\"max-width: 341px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/20130713_Juarez_122.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10858288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/20130713_Juarez_122.jpg\" alt=\"(L to R): Denis Butkus, Ryan Conarro, Justin Nestor (standing), Adam Cochran (lying down), Aysan Celik. Photo courtesy of Theater Mitu\" width=\"341\" height=\"512\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R): Denis Butkus, Ryan Conarro, Justin Nestor (standing), Adam Cochran (lying down), Aysan Celik.\u003cbr>(Photo: Theater Mitu)\u003c/figcaption>\u003c/figure>\n\u003cp>To this end, the ensemble members (none of whom are Mexican natives) draw on the research and extensive interviews they conducted firsthand during repeated trips to both Juárez and El Paso between 2012 and 2013.\u003c/p>\n\u003cp>In the vein of Moises Kaufman and Tectonic Theater’s \u003cem>Laramie Project\u003c/em> (2000), which delved into the aftermath of the 1998 Matthew Shepard murder, the actors serve not only as conduits for local voices—activists, psychologists, historians, grandmothers, journalists, businessmen—but also as interpreters of meaning.\u003c/p>\n\u003cp>In \u003cem>Juárez\u003c/em>, the actors sometimes faithfully recreate the cadences of the interviews (in some cases played back to them through ear pieces). On other occasions, they take them in histrionic directions. Augmented by various visual flourishes and bodily contortions, the acting in these scenes is frequently labored and less than compelling.\u003c/p>\n\u003cp>Sometimes, and probably too often, the dialogue is sung to musical accompaniment. Setting off the words in this way proves only partly successful. And once or twice—including a section in which a dreamy memory of learning to swim in the Rio Grande mingles a sense of innocence with a shiver of premonition—it is eerily and seductively effective.\u003c/p>\n\u003cfigure id=\"attachment_10858292\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Photo-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10858292\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Photo-3.jpg\" alt=\"(L to R) : Ryan Conarro, Denis Butkus, Adam Cochran. Photo courtesy of Theater Mitu\" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Photo-3.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Photo-3-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) : Ryan Conarro, Denis Butkus, Adam Cochran. Photo courtesy of Theater Mitu\u003c/figcaption>\u003c/figure>\n\u003cp>At their best, these and other strategies for re-staging a plethora of facts, opinions, memories, and local lore do provoke recognition, critical distance, or a frisson of emotion—all ways of homing in on a darkly veiled subject.\u003c/p>\n\u003cp>But Juarez—the place, the landscape, its people, the horror they live through, the sense they make of it, the resistance they offer—comes in and out of focus here. If the production is capable of some beautiful, even harrowingly beautiful moments, its almost manic self-positioning as mediator, translator, champion, and witness can end up placing the stress too heavily on the actors themselves, at the expense of their subjects.\u003c/p>\n\u003cp>Nevertheless, it is surely true, as the play contends, that Juárez is not very foreign terrain at all. The city is, rather, a deeply connected part of our world: the reflection just across the water of profound and abiding relationships, overlapping populations, traditions and experiences, and quintessential aspects of American society and power. Juárez, like San Francisco, like much of the globe, is in thrall to some notion of “progress.” We look away at our peril.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem id=\"yui_3_16_0_1_1437761962577_49337\">JUÁREZ: A Documentary Mythology\u003c/em>\u003cbr>\nJuly 23-26\u003cbr>\nThursday, Friday and Saturday at 8pm; Saturday matinee at 2pm; Sunday at 5pm\u003cbr>\nZ Space, 450 Florida Street, SF\u003cbr>\n\u003cstrong>Tickets:\u003c/strong> $20.00 \u003ca id=\"yui_3_16_0_1_1437761962577_49336\" href=\"http://cts.vresp.com/c/?ShaveandaHaircut/ddf52a8c77/e1b8470a40/ba77bbb1e7\" target=\"_blank\" rel=\"nofollow noopener\">https://web.ovationtix.com/trs/pr/945129\u003c/a>\u003c/p>\n\n",
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"excerpt": "The Bay Area premiere of a documentary theater project about Ciudad Juárez by the New York- and Abu Dhabi-based performance company Theater Mitu looks at -- with varying success -- the impact of \"progress\" of one of the world's most challenged cities. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/juarez-a-documentary-mythology/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Juarez: A Documentary Mythology’\u003c/h2>\n\u003cdiv class=\"event-desc\">A multimedia drama about the city of Juarez, Mexico, from New York and Abu Dhabi-based Theater Mitu, makes its Bay Area premiere.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through July 26\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Z Spacee\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/juarez-a-documentary-mythology/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Americans who have heard of Ciudad Juárez might think of the northern Mexican city—lying just over the Rio Grande from its American sister, El Paso—in purely negative terms: a ferocious battleground of the Mexican Drug War; site of a horrifying epidemic of unsolved murders of young women (more than 1000 cases since 1993); even a beleaguered poster child for the The North American Free Trade Agreement (NAFTA) and the social tumult brought in its wake of foreign factories or \u003cem>maquiladoras\u003c/em>.\u003c/p>\n\u003cp>New York and Abu Dhabi–based Theater Mitu’s\u003cem> Juárez: A Documentary Mythology\u003c/em>, which opened last night at Z Space, begins somewhat unexpectedly, then, with the sound of a film projector and the joyful images of a home movie.\u003c/p>\n\u003cp>A male voice with firsthand knowledge narrates what we see: an elaborate coronation of his sister as “queen” of the local Lions Club. This is Juárez as family, community and, we are told, pure theater, orchestrated “as usual” by the narrator’s father.\u003c/p>\n\u003cp>The home movie continues for a minute or two. But the sound of the projector quickly fades (since the film has long ago been transferred to video). The sound is theater too, and marks a certain distance, even as the images retain history, facts, memory.\u003c/p>\n\u003cp>We’re being introduced to a combination of artifice and artifact, which here goes by the name “documentary mythology” and will characterize the production’s increasingly elaborate attempt to bring us somewhere we might otherwise find inaccessible, obscure, even dangerous; a place we might otherwise avoid or dismiss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But\u003cb> \u003c/b>to turn away from Juárez is to dismiss more than the home movies of Rubén Polendo, \u003cem>Juárez\u003c/em>’s director and Theater Mitu’s founding artistic director. As we come to realize over the next 100 minutes, it’s to dismiss some reflection of ourselves.\u003c/p>\n\u003cp>Appropriate to the production’s hometown impetus, the stage has a homemade look: creased translucent tarps stretched out for screens, microphones and cables lying around, laptops and lamps. It’s a makeshift and fluid set of properties manipulated by an ensemble cast of six (Kayla Asbel, Denis Butkus, Aysan Celik, Adam Cochran, Michael Littig and Justin Nestor), tasked with showing us just how close Ciudad Juárez really is.\u003c/p>\n\u003cfigure id=\"attachment_10858288\" class=\"wp-caption alignright\" style=\"max-width: 341px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/20130713_Juarez_122.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10858288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/20130713_Juarez_122.jpg\" alt=\"(L to R): Denis Butkus, Ryan Conarro, Justin Nestor (standing), Adam Cochran (lying down), Aysan Celik. Photo courtesy of Theater Mitu\" width=\"341\" height=\"512\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R): Denis Butkus, Ryan Conarro, Justin Nestor (standing), Adam Cochran (lying down), Aysan Celik.\u003cbr>(Photo: Theater Mitu)\u003c/figcaption>\u003c/figure>\n\u003cp>To this end, the ensemble members (none of whom are Mexican natives) draw on the research and extensive interviews they conducted firsthand during repeated trips to both Juárez and El Paso between 2012 and 2013.\u003c/p>\n\u003cp>In the vein of Moises Kaufman and Tectonic Theater’s \u003cem>Laramie Project\u003c/em> (2000), which delved into the aftermath of the 1998 Matthew Shepard murder, the actors serve not only as conduits for local voices—activists, psychologists, historians, grandmothers, journalists, businessmen—but also as interpreters of meaning.\u003c/p>\n\u003cp>In \u003cem>Juárez\u003c/em>, the actors sometimes faithfully recreate the cadences of the interviews (in some cases played back to them through ear pieces). On other occasions, they take them in histrionic directions. Augmented by various visual flourishes and bodily contortions, the acting in these scenes is frequently labored and less than compelling.\u003c/p>\n\u003cp>Sometimes, and probably too often, the dialogue is sung to musical accompaniment. Setting off the words in this way proves only partly successful. And once or twice—including a section in which a dreamy memory of learning to swim in the Rio Grande mingles a sense of innocence with a shiver of premonition—it is eerily and seductively effective.\u003c/p>\n\u003cfigure id=\"attachment_10858292\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Photo-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10858292\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Photo-3.jpg\" alt=\"(L to R) : Ryan Conarro, Denis Butkus, Adam Cochran. Photo courtesy of Theater Mitu\" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Photo-3.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Photo-3-400x267.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) : Ryan Conarro, Denis Butkus, Adam Cochran. Photo courtesy of Theater Mitu\u003c/figcaption>\u003c/figure>\n\u003cp>At their best, these and other strategies for re-staging a plethora of facts, opinions, memories, and local lore do provoke recognition, critical distance, or a frisson of emotion—all ways of homing in on a darkly veiled subject.\u003c/p>\n\u003cp>But Juarez—the place, the landscape, its people, the horror they live through, the sense they make of it, the resistance they offer—comes in and out of focus here. If the production is capable of some beautiful, even harrowingly beautiful moments, its almost manic self-positioning as mediator, translator, champion, and witness can end up placing the stress too heavily on the actors themselves, at the expense of their subjects.\u003c/p>\n\u003cp>Nevertheless, it is surely true, as the play contends, that Juárez is not very foreign terrain at all. The city is, rather, a deeply connected part of our world: the reflection just across the water of profound and abiding relationships, overlapping populations, traditions and experiences, and quintessential aspects of American society and power. Juárez, like San Francisco, like much of the globe, is in thrall to some notion of “progress.” We look away at our peril.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem id=\"yui_3_16_0_1_1437761962577_49337\">JUÁREZ: A Documentary Mythology\u003c/em>\u003cbr>\nJuly 23-26\u003cbr>\nThursday, Friday and Saturday at 8pm; Saturday matinee at 2pm; Sunday at 5pm\u003cbr>\nZ Space, 450 Florida Street, SF\u003cbr>\n\u003cstrong>Tickets:\u003c/strong> $20.00 \u003ca id=\"yui_3_16_0_1_1437761962577_49336\" href=\"http://cts.vresp.com/c/?ShaveandaHaircut/ddf52a8c77/e1b8470a40/ba77bbb1e7\" target=\"_blank\" rel=\"nofollow noopener\">https://web.ovationtix.com/trs/pr/945129\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Parent's Guide to Seeing 'Matilda the Musical' with Kids",
"headTitle": "A Parent’s Guide to Seeing ‘Matilda the Musical’ with Kids | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Matilda the Musical’\u003c/h2>\n\u003cdiv class=\"event-desc\">The hit Broadway show about a prodigal little girl based on the beloved story by Roald Dahl stops in San Francisco on its national tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Orpheum Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I still remember seeing \u003cem>Annie\u003c/em> on stage for the first time when I was a little girl. My sisters and I brought home the cast recording with its bright red and white cover and spun it endlessly on our record player. We sang “It’s A Hard Knock Life” with the conviction of Depression-era orphans.\u003c/p>\n\u003cp>With those memories of \u003cem>Annie\u003c/em> still playing in my mind, I jumped at the chance to take my seven-year-old daughter Rowan to see \u003cem>Matilda The Musical\u003c/em>, based on the book by Roald Dahl. It’s playing at the Orpheum Theatre in San Francisco through August 15th.\u003c/p>\n\u003cp>At the heart of the story is Matilda, a five-year-old prodigy whose idiotic parents can’t understand why she loves to read so much. When Matilda begins school, her sweet teacher Miss Honey recognizes her brilliance and looks out for her. But the school is ruled by an evil headmistress, Miss Trunchbull. She hates the children and punishes them by locking them in the dreaded “Chokey.”\u003c/p>\n\u003cfigure id=\"attachment_10850267\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg\" alt=\"Rowan Kelly stands in front of a poster for 'Matilda the Musical' at the Orpheum Theatre in San Francisco \" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1400x1867.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Rowan Kelly stands in front of a poster for ‘Matilda the Musical’ at the Orpheum Theatre in San Francisco \u003ccite>(Photo: Erika Kelly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matilda isn’t just smart. She has a fierce mischievous streak, which she uses to put bullies in their place. And that’s just what my daughter Rowan likes best about the character. “My favorite part was when Matilda played tricks on her dad,” Rowan said. “I liked when she put glue in his hat and turned his hair green.” I am now wondering if maybe I should lock up our supply of crazy glue.\u003c/p>\n\u003cp>The theater was filled with lots of little Matilda fans the Sunday matinee performance I attended, including Josie Marroquin, 7, from San Francisco. “My favorite character is Matilda because she’s brave and smart,” Josie said to me. Josie’s favorite part is when Matilda wowed Miss Honey with her mastery of her “times tables.” That thrills Josie, because she’s working on her own times tables, said her grandfather Rex Ridgeway. Personally, I think every little girl needs a heroine who is known for her superior math skills.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like a good Pixar movie, Matilda is one of those family entertainments that is actually entertaining for family members over the age of 12. I loved sweet, smart Matilda. But I enjoyed the idiots and the evildoers even more. While busy repressing young children, Miss Trunchbull manages to do some hilarious singing, dancing and acrobatics. The character is played by Danville native Bryce Ryness, who looks fierce in the headmistress’s gray bun and shoulder-padded military uniform.\u003c/p>\n\u003cfigure id=\"attachment_10850268\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg\" alt=\"Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the 'Matilda The Musical' cast.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1180x767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1400x910.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-960x624.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the ‘Matilda The Musical’ cast. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what of the music? This is a musical after all. The first song, “Miracle,” is kind of a slow starter. Rowan didn’t really understand who all the kids were (“Where’s Matilda?”) and this lengthy salute to badly behaved children grated on my nerves after a while. But the songs improve soon thereafter, when Matilda sings “Naughty.” I think the clever schoolgirl sees into Rowan’s soul when she sings: “We’re told we have to do what we’re told, but surely sometimes you have to be a little bit naughty.”\u003c/p>\n\u003cp>“When I Grow Up,” at the start of the second act, is sweet and melancholy, and earns joy points from Rowan because the kids play on giant swings as they sing. My favorite is “Revolting Children,” a rock anthem with a punk vibe — well, punk for a Broadway show tune anyway.\u003c/p>\n\u003cp>Like many Broadway shows, seeing \u003cem>Matilda\u003c/em> isn’t cheap. Ticket prices start at $45 and there are no discounts for children, though a limited number of limited view rush tickets are available for $40 (cash only) two hours before curtain. Lining up for these rush tickets with small children on one of the busiest and most economically challenged sections of Market Street isn’t necessarily the easiest proposition for many parents, though. Plus, a ticket buyer can only purchase two rush tickets per performance, so taking the kids to a nearby cafe while your partner stands in line isn’t likely.\u003c/p>\n\u003cp>That being said, the musical is worth the money if you can spare it. I even went as far as to drop $25 to buy the CD. We played it on the car ride home, and I can only hope it gets the same love that I gave my old vinyl copy of \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>If you’re thinking of going to see the show…\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Matilda is recommended for kids ages six and up. If you do have a young child, ask an usher for a booster seat so he or she can see over the giant adult heads in the way.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The production requires some staying power: it lasts 2 hours and 34 minutes with one 15 minute intermission. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Matilda the Musical runs through Aug. 15, SHN Orpheum Theater, 1192 Market Street, San Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "KQED's Erika Kelly and her daughter Rowan take in a matinee performance of 'Matilda the Musical' to figure out if it's really worth plunking down the hefty ticket price to see the hit Broadway show, currently on tour in San Francisco. ",
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"description": "KQED's Erika Kelly and her daughter Rowan take in a matinee performance of 'Matilda the Musical' to figure out if it's really worth plunking down the hefty ticket price to see the hit Broadway show, currently on tour in San Francisco. ",
"title": "A Parent's Guide to Seeing 'Matilda the Musical' with Kids | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Matilda the Musical’\u003c/h2>\n\u003cdiv class=\"event-desc\">The hit Broadway show about a prodigal little girl based on the beloved story by Roald Dahl stops in San Francisco on its national tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Orpheum Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I still remember seeing \u003cem>Annie\u003c/em> on stage for the first time when I was a little girl. My sisters and I brought home the cast recording with its bright red and white cover and spun it endlessly on our record player. We sang “It’s A Hard Knock Life” with the conviction of Depression-era orphans.\u003c/p>\n\u003cp>With those memories of \u003cem>Annie\u003c/em> still playing in my mind, I jumped at the chance to take my seven-year-old daughter Rowan to see \u003cem>Matilda The Musical\u003c/em>, based on the book by Roald Dahl. It’s playing at the Orpheum Theatre in San Francisco through August 15th.\u003c/p>\n\u003cp>At the heart of the story is Matilda, a five-year-old prodigy whose idiotic parents can’t understand why she loves to read so much. When Matilda begins school, her sweet teacher Miss Honey recognizes her brilliance and looks out for her. But the school is ruled by an evil headmistress, Miss Trunchbull. She hates the children and punishes them by locking them in the dreaded “Chokey.”\u003c/p>\n\u003cfigure id=\"attachment_10850267\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg\" alt=\"Rowan Kelly stands in front of a poster for 'Matilda the Musical' at the Orpheum Theatre in San Francisco \" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1400x1867.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Rowan Kelly stands in front of a poster for ‘Matilda the Musical’ at the Orpheum Theatre in San Francisco \u003ccite>(Photo: Erika Kelly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matilda isn’t just smart. She has a fierce mischievous streak, which she uses to put bullies in their place. And that’s just what my daughter Rowan likes best about the character. “My favorite part was when Matilda played tricks on her dad,” Rowan said. “I liked when she put glue in his hat and turned his hair green.” I am now wondering if maybe I should lock up our supply of crazy glue.\u003c/p>\n\u003cp>The theater was filled with lots of little Matilda fans the Sunday matinee performance I attended, including Josie Marroquin, 7, from San Francisco. “My favorite character is Matilda because she’s brave and smart,” Josie said to me. Josie’s favorite part is when Matilda wowed Miss Honey with her mastery of her “times tables.” That thrills Josie, because she’s working on her own times tables, said her grandfather Rex Ridgeway. Personally, I think every little girl needs a heroine who is known for her superior math skills.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like a good Pixar movie, Matilda is one of those family entertainments that is actually entertaining for family members over the age of 12. I loved sweet, smart Matilda. But I enjoyed the idiots and the evildoers even more. While busy repressing young children, Miss Trunchbull manages to do some hilarious singing, dancing and acrobatics. The character is played by Danville native Bryce Ryness, who looks fierce in the headmistress’s gray bun and shoulder-padded military uniform.\u003c/p>\n\u003cfigure id=\"attachment_10850268\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg\" alt=\"Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the 'Matilda The Musical' cast.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1180x767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1400x910.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-960x624.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the ‘Matilda The Musical’ cast. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what of the music? This is a musical after all. The first song, “Miracle,” is kind of a slow starter. Rowan didn’t really understand who all the kids were (“Where’s Matilda?”) and this lengthy salute to badly behaved children grated on my nerves after a while. But the songs improve soon thereafter, when Matilda sings “Naughty.” I think the clever schoolgirl sees into Rowan’s soul when she sings: “We’re told we have to do what we’re told, but surely sometimes you have to be a little bit naughty.”\u003c/p>\n\u003cp>“When I Grow Up,” at the start of the second act, is sweet and melancholy, and earns joy points from Rowan because the kids play on giant swings as they sing. My favorite is “Revolting Children,” a rock anthem with a punk vibe — well, punk for a Broadway show tune anyway.\u003c/p>\n\u003cp>Like many Broadway shows, seeing \u003cem>Matilda\u003c/em> isn’t cheap. Ticket prices start at $45 and there are no discounts for children, though a limited number of limited view rush tickets are available for $40 (cash only) two hours before curtain. Lining up for these rush tickets with small children on one of the busiest and most economically challenged sections of Market Street isn’t necessarily the easiest proposition for many parents, though. Plus, a ticket buyer can only purchase two rush tickets per performance, so taking the kids to a nearby cafe while your partner stands in line isn’t likely.\u003c/p>\n\u003cp>That being said, the musical is worth the money if you can spare it. I even went as far as to drop $25 to buy the CD. We played it on the car ride home, and I can only hope it gets the same love that I gave my old vinyl copy of \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>If you’re thinking of going to see the show…\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Matilda is recommended for kids ages six and up. If you do have a young child, ask an usher for a booster seat so he or she can see over the giant adult heads in the way.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The production requires some staying power: it lasts 2 hours and 34 minutes with one 15 minute intermission. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Matilda the Musical runs through Aug. 15, SHN Orpheum Theater, 1192 Market Street, San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play",
"title": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003ca href=\"http://annadeaveresmithprojects.net/\" target=\"_blank\">Anna Deavere Smith\u003c/a> is best known for her TV work on \u003ca href=\"http://www.sho.com/sho/nurse-jackie/home\" target=\"_blank\">\"Nurse Jackie\"\u003c/a> and \"The West Wing,\" but she’s been making documentary theater for decades, about race and class.\u003c/p>\n\u003cp>Her latest play, \u003ca href=\"http://www.berkeleyrep.org/season/1415/9293.asp\" target=\"_blank\">“Notes from the Field: Doing Time in Education, The California Chapter”\u003c/a> at Berkeley Repertory Theatre, tackles what social justice groups have dubbed the\u003ca href=\"http://www.pbs.org/wnet/tavissmiley/tsr/education-under-arrest/school-to-prison-pipeline-fact-sheet/\" target=\"_blank\"> school-to-prison pipeline\u003c/a>. That's what happens when black, brown and Native American children are suspended, expelled and even arrested way out of proportion to their numbers in the student population, putting them on a path to juvenile hall or prison.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/215213165\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Smith creates her shows by interviewing people who know the issues firsthand, nearly 150 for \"Notes,\" and then embodying a dozen or more on stage, using quick changes in costume and voice.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://www.stocktongov.com/government/council/district6.html\" target=\"_blank\">Michael Tubbs\u003c/a>, an African-American city councilman from Stockton, makes an appearance near the beginning of the play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Whenever I talk to young people in Stockton,\" says Smith as Tubbs, \"I always quote the \u003ca href=\"http://allpoetry.com/The-Rose-That-Grew-From-Concrete\" target=\"_blank\">Tupac (Shakur) poem about the rose that grew from concrete\u003c/a>, where he talks about, 'Long live the rose that grew from concrete when no one else cares.' \"\u003c/p>\n\u003cp>A note of hope, tempered by another observation from Smith in her role as Tubbs.\u003c/p>\n\u003cp>\"For a lot of men of color in Stockton, there’s almost this prevailing sense of nihilism. You have an undercaste of young people who just feel forgotten, neglected and just angry, and don’t know what to be angry at.\"\u003c/p>\n\u003cp>Among the other characters: Abby Abinanti, chief judge of the Yurok Tribal Court, and Taos Proctor, a Yurok fisherman, who Abinanti helped rescue from the school-to-prison system.\u003c/p>\n\u003cp>The monologues, so vivid in Smith's impersonations, are underscored with musical backing from bassist, bandleader and composer Marcus Shelby.\u003c/p>\n\u003cfigure id=\"attachment_10603544\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\">\u003cimg class=\"wp-image-10603544 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\" alt='Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\"' width=\"373\" height=\"560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\" \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one transition between scenes, Shelby improvises on \"\u003ca href=\"https://www.youtube.com/watch?v=OGd6CdtOqEE\" target=\"_blank\">Spanish Harlem,\u003c/a>\" a old song that restates the theme of the Tupac poem:\u003c/p>\n\u003cp>\"There is a rose in Spanish Harlem...\u003c/p>\n\u003cp>It's growing in the street\u003cbr>\nRight up through the concrete.\"\u003c/p>\n\u003cp>Shelby plays that song and a lot of blues throughout the play because, he says, the blues capture the pain of the human condition.\u003c/p>\n\u003cp>\"It’s the dichotomy between tragedy and triumph,\" Shelby said. \"All the ways we feel life: anger happiness, love, tension, release.\u003c/p>\n\u003cp>The play is highly personal for Smith, whose mother was a teacher at a school in a poor Baltimore neighborhood.\u003c/p>\n\u003cp>\"So in my house,\" Smith said, \"my mother would bring home these great big boys because she believed there was no such thing as a non-reader. So if someone was in her sixth-grade class, they weren’t leaving sixth grade until they learned to read.\"\u003c/p>\n\u003cp>Smith argues, during an interview in a break from rehearsal recently, and in her characters on stage, that these days teachers are taking an unfair share of the blame for funneling troubled students into the school-to-prison pipeline.\u003c/p>\n\u003cp>\"Because it is a broader problem that is linked to poverty,\" Smith said, \"and the question is how do we help people become productive citizens to their families, to their country and to their communities.\"\u003c/p>\n\u003cp>The play has a surprise built into its second act, even for audiences familiar with Smith’s discursive storytelling.\u003c/p>\n\u003cp>At intermission during a recent preview, 20 facilitators, some from the writing corps \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\">Youth Speaks\u003c/a>, broke the audience up into groups of 30 or so for a brisk whiteboard exercise.\u003c/p>\n\u003cfigure id=\"attachment_10603673\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864.jpg\">\u003cimg class=\"wp-image-10603673 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg\" alt=\"Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's "Notes from the Field: Doing Time in Education, The California Chapter.”\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1400x1050.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's \"Notes from the Field: Doing Time in Education, The California Chapter.” \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As audience members munched packets of cookies, the kind you might find in a schoolkid's lunchbox, poet Dahlak Brathwaite asked the audience to accept the challenge implicit in Smith's play, \"to be part of the effort to change (the school-to-prison pipeline).\"\u003c/p>\n\u003cp>In the play, Smith portrays a conversation with Sherrilyn Ifill, president of the NAACP Legal Defense and Education Fund, in which Ifill calls for the U.S. to invest in education in the same way it invested in the U.S. highway system and the suburbs.\u003c/p>\n\u003cp>But audience members in our group were less ambitious. One man said, \"To create the society I want to live in, I would be willing to pay higher taxes.\"\u003c/p>\n\u003cp>Another said, \"I will vote.\"\u003c/p>\n\u003cp>Asked what she thought of the exercise, Sybil Cobbs of Oakland, part of another group, said, \"I actually loved it. We’re changing our minds, and therefore everything will follow in terms of our actions.\"\u003c/p>\n\u003cp>But she added, \"One young man in our group said, ‘What change can we make in three years?’ And it was heart-wrenching, that our young people feel so hopeless.\"\u003c/p>\n\u003cp>The Act Two discussions raise the question of whether theater, or any art form, can change society. One scholar notes that plays agitating for change are as old the anti-war plays of Aristophanes, and as American as the Federal Theater Project of the Great Depression.\u003c/p>\n\u003cp>Smith herself bristled a bit when I asked the question.\u003c/p>\n\u003cp>\"It’s so obvious,\" she said, \"that art is a form of expression that gets beyond the official language. That complicates things. It has the opportunity to really draw more people in, and particularly in a place in their heart, where they might just make an adjustment about how they think about things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith will be trying to motivate people to change the school-to-prison pipeline through Aug. 2 at Berkeley Rep. Then she and Berkeley Rep are working on plans to take the show to Yurok country in Northern California, and to three cities on the East Coast.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://annadeaveresmithprojects.net/\" target=\"_blank\">Anna Deavere Smith\u003c/a> is best known for her TV work on \u003ca href=\"http://www.sho.com/sho/nurse-jackie/home\" target=\"_blank\">\"Nurse Jackie\"\u003c/a> and \"The West Wing,\" but she’s been making documentary theater for decades, about race and class.\u003c/p>\n\u003cp>Her latest play, \u003ca href=\"http://www.berkeleyrep.org/season/1415/9293.asp\" target=\"_blank\">“Notes from the Field: Doing Time in Education, The California Chapter”\u003c/a> at Berkeley Repertory Theatre, tackles what social justice groups have dubbed the\u003ca href=\"http://www.pbs.org/wnet/tavissmiley/tsr/education-under-arrest/school-to-prison-pipeline-fact-sheet/\" target=\"_blank\"> school-to-prison pipeline\u003c/a>. That's what happens when black, brown and Native American children are suspended, expelled and even arrested way out of proportion to their numbers in the student population, putting them on a path to juvenile hall or prison.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/215213165&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/215213165'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Smith creates her shows by interviewing people who know the issues firsthand, nearly 150 for \"Notes,\" and then embodying a dozen or more on stage, using quick changes in costume and voice.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://www.stocktongov.com/government/council/district6.html\" target=\"_blank\">Michael Tubbs\u003c/a>, an African-American city councilman from Stockton, makes an appearance near the beginning of the play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Whenever I talk to young people in Stockton,\" says Smith as Tubbs, \"I always quote the \u003ca href=\"http://allpoetry.com/The-Rose-That-Grew-From-Concrete\" target=\"_blank\">Tupac (Shakur) poem about the rose that grew from concrete\u003c/a>, where he talks about, 'Long live the rose that grew from concrete when no one else cares.' \"\u003c/p>\n\u003cp>A note of hope, tempered by another observation from Smith in her role as Tubbs.\u003c/p>\n\u003cp>\"For a lot of men of color in Stockton, there’s almost this prevailing sense of nihilism. You have an undercaste of young people who just feel forgotten, neglected and just angry, and don’t know what to be angry at.\"\u003c/p>\n\u003cp>Among the other characters: Abby Abinanti, chief judge of the Yurok Tribal Court, and Taos Proctor, a Yurok fisherman, who Abinanti helped rescue from the school-to-prison system.\u003c/p>\n\u003cp>The monologues, so vivid in Smith's impersonations, are underscored with musical backing from bassist, bandleader and composer Marcus Shelby.\u003c/p>\n\u003cfigure id=\"attachment_10603544\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\">\u003cimg class=\"wp-image-10603544 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\" alt='Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\"' width=\"373\" height=\"560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\" \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one transition between scenes, Shelby improvises on \"\u003ca href=\"https://www.youtube.com/watch?v=OGd6CdtOqEE\" target=\"_blank\">Spanish Harlem,\u003c/a>\" a old song that restates the theme of the Tupac poem:\u003c/p>\n\u003cp>\"There is a rose in Spanish Harlem...\u003c/p>\n\u003cp>It's growing in the street\u003cbr>\nRight up through the concrete.\"\u003c/p>\n\u003cp>Shelby plays that song and a lot of blues throughout the play because, he says, the blues capture the pain of the human condition.\u003c/p>\n\u003cp>\"It’s the dichotomy between tragedy and triumph,\" Shelby said. \"All the ways we feel life: anger happiness, love, tension, release.\u003c/p>\n\u003cp>The play is highly personal for Smith, whose mother was a teacher at a school in a poor Baltimore neighborhood.\u003c/p>\n\u003cp>\"So in my house,\" Smith said, \"my mother would bring home these great big boys because she believed there was no such thing as a non-reader. So if someone was in her sixth-grade class, they weren’t leaving sixth grade until they learned to read.\"\u003c/p>\n\u003cp>Smith argues, during an interview in a break from rehearsal recently, and in her characters on stage, that these days teachers are taking an unfair share of the blame for funneling troubled students into the school-to-prison pipeline.\u003c/p>\n\u003cp>\"Because it is a broader problem that is linked to poverty,\" Smith said, \"and the question is how do we help people become productive citizens to their families, to their country and to their communities.\"\u003c/p>\n\u003cp>The play has a surprise built into its second act, even for audiences familiar with Smith’s discursive storytelling.\u003c/p>\n\u003cp>At intermission during a recent preview, 20 facilitators, some from the writing corps \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\">Youth Speaks\u003c/a>, broke the audience up into groups of 30 or so for a brisk whiteboard exercise.\u003c/p>\n\u003cfigure id=\"attachment_10603673\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864.jpg\">\u003cimg class=\"wp-image-10603673 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg\" alt=\"Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's "Notes from the Field: Doing Time in Education, The California Chapter.”\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1400x1050.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's \"Notes from the Field: Doing Time in Education, The California Chapter.” \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As audience members munched packets of cookies, the kind you might find in a schoolkid's lunchbox, poet Dahlak Brathwaite asked the audience to accept the challenge implicit in Smith's play, \"to be part of the effort to change (the school-to-prison pipeline).\"\u003c/p>\n\u003cp>In the play, Smith portrays a conversation with Sherrilyn Ifill, president of the NAACP Legal Defense and Education Fund, in which Ifill calls for the U.S. to invest in education in the same way it invested in the U.S. highway system and the suburbs.\u003c/p>\n\u003cp>But audience members in our group were less ambitious. One man said, \"To create the society I want to live in, I would be willing to pay higher taxes.\"\u003c/p>\n\u003cp>Another said, \"I will vote.\"\u003c/p>\n\u003cp>Asked what she thought of the exercise, Sybil Cobbs of Oakland, part of another group, said, \"I actually loved it. We’re changing our minds, and therefore everything will follow in terms of our actions.\"\u003c/p>\n\u003cp>But she added, \"One young man in our group said, ‘What change can we make in three years?’ And it was heart-wrenching, that our young people feel so hopeless.\"\u003c/p>\n\u003cp>The Act Two discussions raise the question of whether theater, or any art form, can change society. One scholar notes that plays agitating for change are as old the anti-war plays of Aristophanes, and as American as the Federal Theater Project of the Great Depression.\u003c/p>\n\u003cp>Smith herself bristled a bit when I asked the question.\u003c/p>\n\u003cp>\"It’s so obvious,\" she said, \"that art is a form of expression that gets beyond the official language. That complicates things. It has the opportunity to really draw more people in, and particularly in a place in their heart, where they might just make an adjustment about how they think about things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith will be trying to motivate people to change the school-to-prison pipeline through Aug. 2 at Berkeley Rep. Then she and Berkeley Rep are working on plans to take the show to Yurok country in Northern California, and to three cities on the East Coast.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tearing Down the System with Anna Deavere Smith",
"headTitle": "Tearing Down the System with Anna Deavere Smith | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/notes-from-the-field/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Notes from the Field: Doing time in Education, the California Chapter’\u003c/h2>\n\u003cdiv class=\"event-desc\">Lauded documentary theater artist Anna Deavere Smith presents a show about breaking the school to prison pipeline.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 2\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Berkeley Repertory Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/notes-from-the-field/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Anna Deavere Smith is an old hand at tackling complex issues in down-to-earth terms without reducing their complexity. In her early solo shows \u003cem>Fires in the Mirror \u003c/em>and \u003cem>Twilight: Los Angeles, 1992, \u003c/em>she explored how long-simmering racial tensions exploded into riots in Brooklyn and Los Angeles in the early 1990s. The performer’s signature style of performing verbatim excerpts of her own interviews proved to be especially poignant in those documentary theater pieces as she embodied leaders, bystanders, activists and other figures on all sides of the divide talking about their experience of difference through the same face. The fact that Smith herself is a light-skinned African American woman only helped drive her points home.\u003c/p>\n\u003cp>Smith has continued to try to make sense of overwhelmingly complicated social issues by embodying contrasting perspectives in subsequent pieces such as \u003cem>Let Me Down Easy. \u003c/em>This look at the thorny American health care system came to Berkeley Repertory Theatre in 2011.\u003c/p>\n\u003cp>Smith’s new piece at Berkeley Rep carries the unwieldy title \u003cem>Notes from the Field: Doing Time in Education, The California Chapter.\u003c/em> It’s the latest stage of a work in progress about the school-to-prison pipeline for underserved youth–primarily of color–from impoverished communities in the United States. Although it’s a full-length drama, clocking in at two hours and 20 minutes, Smith is presenting it in an unfinished form.\u003c/p>\n\u003cp>The sections that are in place, however, appear polished. Smith humanizes her subjects by preserving their verbal tics, intonation and body language in a manner that’s sometimes amusing, and that serves to accentuate rather than undermine their credibility. These aren’t just disembodied points of view; these are real people with real lived experiences.\u003c/p>\n\u003cp>Smith becomes teachers, counselors, ex-cons, judges, activists, civic leaders and witnesses of police violence in segments skillfully woven together so that one speaker often seems to be using the last person’s testimony as a jumping-off point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Costume and set changes are minimal. Occasionally Smith puts on a jacket to become someone new. But more often, the shift is pure body language. In director Leah C. Gardiner’s smooth staging, the stagehands seamlessly move chairs and tables to and fro between segments so that each interview has a different, albeit minimalist, setting.\u003c/p>\n\u003cp>This one isn’t quite a solo show: Bay Area jazz composer Marcus Shelby is onstage the whole time, accentuating key sections with somber musical accompaniment on double bass.\u003c/p>\n\u003cfigure id=\"attachment_10842136\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/notesfield7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10842136\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/notesfield7.jpg\" alt=\"Anna Deavere Smith portrays Stephanie Williams, emotional support teacher in Philadelphia, in Notes from the Field: Doing Time in Education, The California Chapter, a one-woman show featuring stories about California’s devastating school-to-prison pipeline. (Photo: kevinberne.com)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/notesfield7.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/notesfield7-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anna Deavere Smith portrays Stephanie Williams, emotional support teacher in Philadelphia, in \u003ci>Notes from the Field: Doing Time in Education, The California Chapter\u003c/i>, a one-woman show featuring stories about California’s devastating school-to-prison pipeline. (Photo: kevinberne.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Smith is taking on a huge and multifaceted subject here. She talks about children traumatized at an early age who are just passed along from school to school to juvenile hall without addressing what leads them to act out in the first place. Her subjects describe the criminalization of everyday life for people of color, in which police can stop you on any pretext and can brutalize or kill you for “resisting arrest” even when there was no crime they could arrest you for in the first place.\u003c/p>\n\u003cp>Ultimately, though, this is all the same system, a result of the allocation of funds and resources to the criminal justice system instead of education and social services. Whole segments of the population are effectively written off as a loss before they even get started.\u003c/p>\n\u003cp>How can a system so mammoth and so fixed possibly be changed? Well, that’s where a bold experiment comes in. The whole second act of the show is “homework.” The audience is split up into small groups assigned to different areas all over the theater grounds to participate in guided discussions with facilitators with dry-erase boards.\u003c/p>\n\u003cp>In our group, however, there really wasn’t any conversation. We were asked to blurt out phrases about what needed to happen and what a better future would look like, all of which were written down on the board. We were asked to write down a description of positive change and to state what we individually are prepared to commit to do to help change this sad state of affairs. Only a couple of people came forward, and it was to talk about things they were already doing. Other groups seemed slightly livelier, but the format didn’t seem to be designed for much back-and-forth discussion.\u003c/p>\n\u003cp>It was a frustrating experience to feel so impotent and disengaged in any solution to such entrenched systematic injustice. But making people uncomfortable may be part of the point. When we’re asked what we’re personally willing to do to change things, it’s embarrassing to come up empty. As a part of the theatrical experience, the brainstorming sessions seem awkward. But as a way of pursuing an issue further than just hearing about it for a couple of hours, it seems worth a try.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Notes from the Field: Doing Time in Education, The California Chapter\u003c/em> runs through August 2, 2015 at Berkeley Repertory Theatre in Berkeley. For \u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a> visit berkeleyrep.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/notes-from-the-field/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Notes from the Field: Doing time in Education, the California Chapter’\u003c/h2>\n\u003cdiv class=\"event-desc\">Lauded documentary theater artist Anna Deavere Smith presents a show about breaking the school to prison pipeline.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 2\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Berkeley Repertory Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/notes-from-the-field/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Anna Deavere Smith is an old hand at tackling complex issues in down-to-earth terms without reducing their complexity. In her early solo shows \u003cem>Fires in the Mirror \u003c/em>and \u003cem>Twilight: Los Angeles, 1992, \u003c/em>she explored how long-simmering racial tensions exploded into riots in Brooklyn and Los Angeles in the early 1990s. The performer’s signature style of performing verbatim excerpts of her own interviews proved to be especially poignant in those documentary theater pieces as she embodied leaders, bystanders, activists and other figures on all sides of the divide talking about their experience of difference through the same face. The fact that Smith herself is a light-skinned African American woman only helped drive her points home.\u003c/p>\n\u003cp>Smith has continued to try to make sense of overwhelmingly complicated social issues by embodying contrasting perspectives in subsequent pieces such as \u003cem>Let Me Down Easy. \u003c/em>This look at the thorny American health care system came to Berkeley Repertory Theatre in 2011.\u003c/p>\n\u003cp>Smith’s new piece at Berkeley Rep carries the unwieldy title \u003cem>Notes from the Field: Doing Time in Education, The California Chapter.\u003c/em> It’s the latest stage of a work in progress about the school-to-prison pipeline for underserved youth–primarily of color–from impoverished communities in the United States. Although it’s a full-length drama, clocking in at two hours and 20 minutes, Smith is presenting it in an unfinished form.\u003c/p>\n\u003cp>The sections that are in place, however, appear polished. Smith humanizes her subjects by preserving their verbal tics, intonation and body language in a manner that’s sometimes amusing, and that serves to accentuate rather than undermine their credibility. These aren’t just disembodied points of view; these are real people with real lived experiences.\u003c/p>\n\u003cp>Smith becomes teachers, counselors, ex-cons, judges, activists, civic leaders and witnesses of police violence in segments skillfully woven together so that one speaker often seems to be using the last person’s testimony as a jumping-off point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Costume and set changes are minimal. Occasionally Smith puts on a jacket to become someone new. But more often, the shift is pure body language. In director Leah C. Gardiner’s smooth staging, the stagehands seamlessly move chairs and tables to and fro between segments so that each interview has a different, albeit minimalist, setting.\u003c/p>\n\u003cp>This one isn’t quite a solo show: Bay Area jazz composer Marcus Shelby is onstage the whole time, accentuating key sections with somber musical accompaniment on double bass.\u003c/p>\n\u003cfigure id=\"attachment_10842136\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/notesfield7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10842136\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/notesfield7.jpg\" alt=\"Anna Deavere Smith portrays Stephanie Williams, emotional support teacher in Philadelphia, in Notes from the Field: Doing Time in Education, The California Chapter, a one-woman show featuring stories about California’s devastating school-to-prison pipeline. (Photo: kevinberne.com)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/notesfield7.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/notesfield7-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anna Deavere Smith portrays Stephanie Williams, emotional support teacher in Philadelphia, in \u003ci>Notes from the Field: Doing Time in Education, The California Chapter\u003c/i>, a one-woman show featuring stories about California’s devastating school-to-prison pipeline. (Photo: kevinberne.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Smith is taking on a huge and multifaceted subject here. She talks about children traumatized at an early age who are just passed along from school to school to juvenile hall without addressing what leads them to act out in the first place. Her subjects describe the criminalization of everyday life for people of color, in which police can stop you on any pretext and can brutalize or kill you for “resisting arrest” even when there was no crime they could arrest you for in the first place.\u003c/p>\n\u003cp>Ultimately, though, this is all the same system, a result of the allocation of funds and resources to the criminal justice system instead of education and social services. Whole segments of the population are effectively written off as a loss before they even get started.\u003c/p>\n\u003cp>How can a system so mammoth and so fixed possibly be changed? Well, that’s where a bold experiment comes in. The whole second act of the show is “homework.” The audience is split up into small groups assigned to different areas all over the theater grounds to participate in guided discussions with facilitators with dry-erase boards.\u003c/p>\n\u003cp>In our group, however, there really wasn’t any conversation. We were asked to blurt out phrases about what needed to happen and what a better future would look like, all of which were written down on the board. We were asked to write down a description of positive change and to state what we individually are prepared to commit to do to help change this sad state of affairs. Only a couple of people came forward, and it was to talk about things they were already doing. Other groups seemed slightly livelier, but the format didn’t seem to be designed for much back-and-forth discussion.\u003c/p>\n\u003cp>It was a frustrating experience to feel so impotent and disengaged in any solution to such entrenched systematic injustice. But making people uncomfortable may be part of the point. When we’re asked what we’re personally willing to do to change things, it’s embarrassing to come up empty. As a part of the theatrical experience, the brainstorming sessions seem awkward. But as a way of pursuing an issue further than just hearing about it for a couple of hours, it seems worth a try.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Notes from the Field: Doing Time in Education, The California Chapter\u003c/em> runs through August 2, 2015 at Berkeley Repertory Theatre in Berkeley. For \u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a> visit berkeleyrep.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
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