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"title": "Caryl Churchill's Innovation Trap",
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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/love-and-information/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Love and Information’\u003c/h2>\n\u003cdiv class=\"event-desc\">ACT inaugurates the newly refurbished Strand Theater with Caryl Churchill’s acclaimed new play.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 3 – Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Strand Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/love-and-information/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\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/top-girls/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Top Girls’\u003c/h2>\n\u003cdiv class=\"event-desc\">Caryl Churchill’s most popular play, her early ’80s feminist drama, gets the Shotgun Players treatment.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 2 – Aug. 2\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Shotgun Players’ Ashby Stage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/top-girls/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Over a career spanning four decades, Caryl Churchill has become one of the world’s most famous English language playwrights. The socially prescient, experimentally inclined British dramatist’s reputation is somewhat deserved: Her breakout 1979 farce of sexual politics \u003cem>Cloud Nine\u003c/em> and her 2000 shocker about love, genocide and hat design, \u003cem>Far Away\u003c/em>, are unnerving explorations of the way social conventions can warp and destroy anyone who dares to risk love. You leave these plays with a sense of caution for those who seek happiness and for what they might do to get it.\u003c/p>\n\u003cp>Yet what passes for vision in Churchill is less about the world we live in and more about the theater. The difference is telling. The dramatist claims that playwrights “don’t give answers; they ask questions.” Fair enough, though the showiness of her plays belies those claims. Critics fall all over themselves praising the innovative nature of Churchill’s work, lavishing such panegyrics upon it as, “a bracing kaleidoscopic challenge,” “as inventive as anyone writing for the theater,” and “brilliantly stretching theater’s boundaries.” As if innovation were the equivalent of artistic and moral excellence.\u003c/p>\n\u003cp>Right now, Bay Area theatergoers have an opportunity to challenge the Churchill orthodoxy. Two of her most significant works — one old, one new — are up and running in San Francisco and Berkeley: \u003cem>Love and Information\u003c/em> at the American Conservatory Theater’s (ACT) new performance space, the Strand, and the Shotgun Players’ take on Churchill’s 1982 feminist drama, \u003cem>Top Girls\u003c/em>. In this pair of imperfect productions, Churchill’s limitations and strengths are on full display.\u003c/p>\n\u003cp>\u003cem>Love and Information\u003c/em>, a play about the corrosive effects of technology, consists of 57 scenes and over a hundred characters, none of them memorable. Some of the vignettes last no more than a few seconds and none stretches for more than five minutes. The effect is deadening. Every moment is enveloped in a cloud of importance, as if to say, “This is the way we live! This is who we are!” When two people gaze at the sky and muse about light, time and death, or in a scene titled “Grief,” where the death of a friend is just a set up for a joke, you know that Churchill is taking the easy way out. The overall form might be innovative, but the content is on the level of Hallmark card homilies.\u003c/p>\n\u003cp>Over and over in ACT’s production we’re asked to grant importance to mere sketches. Casey Stangl’s one-note direction coupled with the visual flatness of Robert Brill’s sets, Lap Chi Chu’s lightning, and the inevitable use of video projections accentuate rather than mute Churchill’s flaws. She hasn’t so much written a play about love and information as she’s written 57 commercials for one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Top Girls\u003c/em> is a tougher, smarter play, although marred by the very gimmickry that makes it memorable. Marlene, celebrating her promotion to managing director at Top Girls employment agency, throws a dinner party at a swank restaurant. Instead of inviting friends, her guests, which include Pope Joan, Patient Griselda from Geoffrey Chaucer’s \u003cem>The Canterbury Tales\u003c/em>, a Japanese concubine and the 19th century explorer Isabella Bird among others, are either dead or fictional, and sometimes both.\u003c/p>\n\u003cp>Right from the start we can sense that these are symbols rather than characters, here to prove a point about the longstanding indignity of women’s lives. We never doubt that point. But we grasp it faster than Churchill expresses it. As she lectures the audience, the only thing we can do is sit there and wait for her to catch up.\u003c/p>\n\u003cp>Still, scenes as simple as Marlene interviewing a confused client or two teenage girls planning to go to the movies are sharp and surprising. Suddenly, the play gains energy and direction. We see Marlene struggling with her success, the trapped lives of her downtrodden sister and niece, and how alone she is, even when surrounded by colleagues, clients, and family. Churchill poses a horrible possibility: without her job and material success, would Marlene even exist?\u003c/p>\n\u003cp>There are many problems with the Shotgun Player’s production. First and foremost among them is Erik Flatmo’s visually confusing set. The way the designer mixes and matches elements from one setting to the next robs the production of the social dimensions unique to time and place. There’s a reason Churchill moves back and forth from Marelene’s office to her sister’s rundown flat: the juxtaposition has to be sharp and brutal, not thrown together and messy.\u003c/p>\n\u003cp>We can thank the lead actresses for overcoming these obstacles and finding the heart of Churchill’s play. When confronted with life rather than concepts, the cast digs in and you pay attention. Every scene between Marlene (Kendra Lee Oberhauser) and her niece Angie (Rosie Hallet) is riveting. Watch how Hallet changes her posture when Angie visits her Aunt’s office, or how Oberhauser seems larger and a little lumbering when Marlene invades her sister’s flat. That’s fine acting. The last line of \u003cem>Top Girls\u003c/em> is frightening and without much help from the production, these two actresses make it so.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I wonder what type of play \u003cem>Top Girls\u003c/em> would be without the first act? My guess is a better one, but ultimately not as successful. Churchill’s flaws are exactly what make her so appealing to critics and theaters. Things appear to be happening. But all too often this is just the dazzle of empty questions, rather than the necessity of brutal, hard thought answers. We can’t fault ACT and Shotgun for trumpeting Churchill’s reputation as a theatrical iconoclast. But we should be wary of marketing and what it values: you can bet it has nothing to do with human beings.\u003c/p>\n\n",
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"excerpt": "There are currently two productions of shows by the famous British playwright going on in Bay Area theaters. Experiencing them reveals Churchill's strengths -- and flaws. ",
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"description": "There are currently two productions of shows by the famous British playwright going on in Bay Area theaters. Experiencing them reveals Churchill's strengths -- and flaws. ",
"title": "Caryl Churchill's Innovation Trap | 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/love-and-information/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Love and Information’\u003c/h2>\n\u003cdiv class=\"event-desc\">ACT inaugurates the newly refurbished Strand Theater with Caryl Churchill’s acclaimed new play.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 3 – Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Strand Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/love-and-information/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\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/top-girls/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Top Girls’\u003c/h2>\n\u003cdiv class=\"event-desc\">Caryl Churchill’s most popular play, her early ’80s feminist drama, gets the Shotgun Players treatment.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 2 – Aug. 2\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Shotgun Players’ Ashby Stage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/top-girls/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Over a career spanning four decades, Caryl Churchill has become one of the world’s most famous English language playwrights. The socially prescient, experimentally inclined British dramatist’s reputation is somewhat deserved: Her breakout 1979 farce of sexual politics \u003cem>Cloud Nine\u003c/em> and her 2000 shocker about love, genocide and hat design, \u003cem>Far Away\u003c/em>, are unnerving explorations of the way social conventions can warp and destroy anyone who dares to risk love. You leave these plays with a sense of caution for those who seek happiness and for what they might do to get it.\u003c/p>\n\u003cp>Yet what passes for vision in Churchill is less about the world we live in and more about the theater. The difference is telling. The dramatist claims that playwrights “don’t give answers; they ask questions.” Fair enough, though the showiness of her plays belies those claims. Critics fall all over themselves praising the innovative nature of Churchill’s work, lavishing such panegyrics upon it as, “a bracing kaleidoscopic challenge,” “as inventive as anyone writing for the theater,” and “brilliantly stretching theater’s boundaries.” As if innovation were the equivalent of artistic and moral excellence.\u003c/p>\n\u003cp>Right now, Bay Area theatergoers have an opportunity to challenge the Churchill orthodoxy. Two of her most significant works — one old, one new — are up and running in San Francisco and Berkeley: \u003cem>Love and Information\u003c/em> at the American Conservatory Theater’s (ACT) new performance space, the Strand, and the Shotgun Players’ take on Churchill’s 1982 feminist drama, \u003cem>Top Girls\u003c/em>. In this pair of imperfect productions, Churchill’s limitations and strengths are on full display.\u003c/p>\n\u003cp>\u003cem>Love and Information\u003c/em>, a play about the corrosive effects of technology, consists of 57 scenes and over a hundred characters, none of them memorable. Some of the vignettes last no more than a few seconds and none stretches for more than five minutes. The effect is deadening. Every moment is enveloped in a cloud of importance, as if to say, “This is the way we live! This is who we are!” When two people gaze at the sky and muse about light, time and death, or in a scene titled “Grief,” where the death of a friend is just a set up for a joke, you know that Churchill is taking the easy way out. The overall form might be innovative, but the content is on the level of Hallmark card homilies.\u003c/p>\n\u003cp>Over and over in ACT’s production we’re asked to grant importance to mere sketches. Casey Stangl’s one-note direction coupled with the visual flatness of Robert Brill’s sets, Lap Chi Chu’s lightning, and the inevitable use of video projections accentuate rather than mute Churchill’s flaws. She hasn’t so much written a play about love and information as she’s written 57 commercials for one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Top Girls\u003c/em> is a tougher, smarter play, although marred by the very gimmickry that makes it memorable. Marlene, celebrating her promotion to managing director at Top Girls employment agency, throws a dinner party at a swank restaurant. Instead of inviting friends, her guests, which include Pope Joan, Patient Griselda from Geoffrey Chaucer’s \u003cem>The Canterbury Tales\u003c/em>, a Japanese concubine and the 19th century explorer Isabella Bird among others, are either dead or fictional, and sometimes both.\u003c/p>\n\u003cp>Right from the start we can sense that these are symbols rather than characters, here to prove a point about the longstanding indignity of women’s lives. We never doubt that point. But we grasp it faster than Churchill expresses it. As she lectures the audience, the only thing we can do is sit there and wait for her to catch up.\u003c/p>\n\u003cp>Still, scenes as simple as Marlene interviewing a confused client or two teenage girls planning to go to the movies are sharp and surprising. Suddenly, the play gains energy and direction. We see Marlene struggling with her success, the trapped lives of her downtrodden sister and niece, and how alone she is, even when surrounded by colleagues, clients, and family. Churchill poses a horrible possibility: without her job and material success, would Marlene even exist?\u003c/p>\n\u003cp>There are many problems with the Shotgun Player’s production. First and foremost among them is Erik Flatmo’s visually confusing set. The way the designer mixes and matches elements from one setting to the next robs the production of the social dimensions unique to time and place. There’s a reason Churchill moves back and forth from Marelene’s office to her sister’s rundown flat: the juxtaposition has to be sharp and brutal, not thrown together and messy.\u003c/p>\n\u003cp>We can thank the lead actresses for overcoming these obstacles and finding the heart of Churchill’s play. When confronted with life rather than concepts, the cast digs in and you pay attention. Every scene between Marlene (Kendra Lee Oberhauser) and her niece Angie (Rosie Hallet) is riveting. Watch how Hallet changes her posture when Angie visits her Aunt’s office, or how Oberhauser seems larger and a little lumbering when Marlene invades her sister’s flat. That’s fine acting. The last line of \u003cem>Top Girls\u003c/em> is frightening and without much help from the production, these two actresses make it so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I wonder what type of play \u003cem>Top Girls\u003c/em> would be without the first act? My guess is a better one, but ultimately not as successful. Churchill’s flaws are exactly what make her so appealing to critics and theaters. Things appear to be happening. But all too often this is just the dazzle of empty questions, rather than the necessity of brutal, hard thought answers. We can’t fault ACT and Shotgun for trumpeting Churchill’s reputation as a theatrical iconoclast. But we should be wary of marketing and what it values: you can bet it has nothing to do with human beings.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Santa Rosa Theater Company Brings Bilingual Plays to Parks by Bike",
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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/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Imaginists’\u003c/h2>\n\u003cdiv class=\"event-desc\">The bilingual, bicycle-toting theater company performs a surreal yet family-friendly drama about an insect wedding — for free!\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 19 – July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Locations vary\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The Imaginists is an unconventional theater company. During the summer they put on free plays in public parks in and around Santa Rosa where all the props, costumes, sets and actors arrive on bikes. The company was founded in 2001, and has been riding bikes for six years. And many of its performances are bilingual, with the actors moving fluidly between English and Spanish.\u003c/p>\n\u003cp>This summer, the company is touring the region with an early play by Spanish dramatist Federico Garcia Lorca. \u003cem>The Butterfly’s Evil Spell/\u003c/em>\u003cem>El Maleficio de la Mariposa\u003c/em> is a surreal, poetic drama about an insect wedding in which all the actors play bugs. The work has no ending and Lorca himself was not happy with it\u003cb>. \u003c/b>As a result, \u003cem>The Butterfly’s Evil Spell\u003c/em> is rarely performed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834889\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg\" alt=\"IMG_4277\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Last Friday, the troupe took the play to Bayer Neighborhood Park and Gardens in Santa Rosa. The performance piggybacked on a weekly community potluck complete with hot tortillas warmed over a fire. Before the play, kids speaking Spanish and English leapt over picnic tables, jumped on top of mulch piles and biked back and forth across the parkland. Once the actors had finished unloading the bikes and setting up, they rolled stumps towards the staging area for seating. Then people settled in to watch the show.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/215209695″ 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>Amy Pinto and Brent Lindsay, cofounders of the Imaginists, wanted to bring theater to the community of Santa Rosa. Like the rest of California, a big part of that community is Hispanic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There isn’t a whole lot of art that is accessible to people in this community,” Karym Sanchez, a community organizer with the North Bay Organizing Project said. “It’s awesome that they bring the theater to the people, you know, so there’s no longer that threshold of having to pay to get in.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834897\" style=\"line-height: 1.5\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg\" alt=\"IMG_4313\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>One Stage, Two Languages\u003c/strong>\u003c/p>\n\u003cp>Producing bilingual plays means that sometimes a line is spoken in English and then repeated immediately in Spanish. Other times, a Spanish phrase is followed by a clarifying sentence in English. And of course, the performers always act it out.\u003c/p>\n\u003cp>“Communication can happen in a lot of different ways rather than just language,” Pinto said.\u003c/p>\n\u003cp>Some people in the company are bilingual. But many only speak Spanish or English. Yet everyone in the cast delivers lines in both languages.\u003c/p>\n\u003cp>The Imaginists have done six bilingual plays to date including \u003cem>Extranjeros en su Propia Tierra/Strangers in Their Own Land\u003c/em> and \u003cem>REAL\u003c/em>. When new scripts are doled out for the company’s bilingual plays, actors who only speak one language learn the other from fellow cast members who are fluent in the other tongue. The actors say the process is a humbling and empowering exchange for everyone.\u003c/p>\n\u003cp>\u003cstrong>An approachable approach\u003c/strong>\u003c/p>\n\u003cp>One goal of the Imaginists is to make theater unintimidating and integrated into the community. The company does this by using untrained actors from the community, bicycles and lots of humor. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, actors rap, dance and employ slapstick comedy.\u003c/p>\n\u003cp>“We aim to develop an atmosphere of trust,” Lindsay said. “The way you introduce people to that environment is of course opening up and to become vulnerable with us. Laughter is of course a perfect opportunity to open people up.”\u003c/p>\n\u003cp>The plays also incorporate audience participation. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, the audience is invited to dance on stage, sing along to songs, and even dictate how Lorca’s conclusion-less play will end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-medium wp-image-10834899 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg\" alt=\"IMG_4329\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Actors ask the audience for suggestions for a suitable ending. After the crowd votes for a favorite, the cast improvises the finale. Last Friday the lovers ended up together but dead.\u003c/p>\n\u003cp>“How they got the kids involved was very creative. The people are part of the play,” said audience member Omar Gallardo. Gallardo is the outreach and diversity director of LandPaths, a stewardship organization that connects Sonoma County residents with open spaces.\u003c/p>\n\u003cp>The company draws a diverse audience, ranging from toddlers to older people. Both Latinos and non-Hispanic whites are in attendance.\u003c/p>\n\u003cp>Sitting in the audience, it’s clear that the spectators appreciate the performance. However Lindsay said Santa Rosa as a whole has not been particularly open to the Imaginists’ approach. He says it has taken a long time for the Santa Rosa establishment to come around.\u003c/p>\n\u003cp>“Especially in Santa Rosa and Sonoma, it was difficult to convince people that what you were doing was anything but amateur,” Lindsay said. “To convince people that the ideas were coming from the right place, that took at least five years.”\u003c/p>\n\u003cp>Lindsay says what really sparked local attention was recognition from outside Santa Rosa, including grants from the National Endowment for the Arts and reviews from publications in the East Bay and San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Art reflects life, life reflects art\u003c/strong>\u003c/p>\n\u003cp>The troupe not only adapts plays and poems but also produces original works for the stage. When choosing what to produce, Lindsay and Pinto try to pick subjects to which their community can relate.\u003c/p>\n\u003cp>In one of the Imaginists’ current productions, \u003cem>The Art is Medicine Show/El Show El Arte Es Medicina\u003c/em>, actress Dulce Precido recites a poem by Francisco Larcon, “First Day of School.” It’s about a newly immigrated child being handed off to a teacher whose language the child cannot understand.\u003c/p>\n\u003cp>“It’s my story,” said Precido, who left Mexico for California in 2002. “When I went to school, I didn’t speak English and couldn’t understand the teacher.”\u003c/p>\n\u003cp>One of the early bilingual plays, \u003cem>Foreigners in Their Own Land/Extranjeros en Su Propia Tierra,\u003c/em> the Imaginists tackled border crossings and deportation. An actress named Laura took the role of a woman who was going to be deported. Two years later, fiction became reality and Laura was in fact deported.\u003c/p>\n\u003cp>“Every one of the stories that are told in the play were real, but we never imagined that the story of Laura being deported was going to be real,” actor Sergio Zavala said. “It’s tough for us to come back and participate in the Imaginists after group members have been deported. So sometimes you can feel alone, but the Imaginists are loving and offer support.”\u003c/p>\n\u003cfigure id=\"attachment_10834905\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10834905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg\" alt=\"Actor Sergio Zavalo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Sergio Zavalo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Butterfly’s Evil Spell/\u003c/b>\u003cstrong>El Maleficio de la Mariposa \u003c/strong>\u003c/p>\n\u003cp>July 19 – Humboldt Park @ 4pm\u003cbr>\nJuly 24 – MLK Park @ 7 pm\u003cbr>\nJuly 25 – Finley Park @ 4pm\u003c/p>\n\u003cp>\u003cstrong>The Art is Medicine Shoe/El Show el Arte es Medicina\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>July 21 – MLK Park @ 12:30\u003c/p>\n\n",
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"excerpt": "For the past seven years, the members of The Imaginists theater company have spent their summers cycling around the region, performing experimental plays in English and Spanish before captivated audiences. ",
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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/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Imaginists’\u003c/h2>\n\u003cdiv class=\"event-desc\">The bilingual, bicycle-toting theater company performs a surreal yet family-friendly drama about an insect wedding — for free!\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 19 – July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Locations vary\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-imaginists/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The Imaginists is an unconventional theater company. During the summer they put on free plays in public parks in and around Santa Rosa where all the props, costumes, sets and actors arrive on bikes. The company was founded in 2001, and has been riding bikes for six years. And many of its performances are bilingual, with the actors moving fluidly between English and Spanish.\u003c/p>\n\u003cp>This summer, the company is touring the region with an early play by Spanish dramatist Federico Garcia Lorca. \u003cem>The Butterfly’s Evil Spell/\u003c/em>\u003cem>El Maleficio de la Mariposa\u003c/em> is a surreal, poetic drama about an insect wedding in which all the actors play bugs. The work has no ending and Lorca himself was not happy with it\u003cb>. \u003c/b>As a result, \u003cem>The Butterfly’s Evil Spell\u003c/em> is rarely performed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834889\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg\" alt=\"IMG_4277\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4277-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Last Friday, the troupe took the play to Bayer Neighborhood Park and Gardens in Santa Rosa. The performance piggybacked on a weekly community potluck complete with hot tortillas warmed over a fire. Before the play, kids speaking Spanish and English leapt over picnic tables, jumped on top of mulch piles and biked back and forth across the parkland. Once the actors had finished unloading the bikes and setting up, they rolled stumps towards the staging area for seating. Then people settled in to watch the show.\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/215209695″&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/215209695″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Amy Pinto and Brent Lindsay, cofounders of the Imaginists, wanted to bring theater to the community of Santa Rosa. Like the rest of California, a big part of that community is Hispanic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There isn’t a whole lot of art that is accessible to people in this community,” Karym Sanchez, a community organizer with the North Bay Organizing Project said. “It’s awesome that they bring the theater to the people, you know, so there’s no longer that threshold of having to pay to get in.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10834897\" style=\"line-height: 1.5\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg\" alt=\"IMG_4313\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4313-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>One Stage, Two Languages\u003c/strong>\u003c/p>\n\u003cp>Producing bilingual plays means that sometimes a line is spoken in English and then repeated immediately in Spanish. Other times, a Spanish phrase is followed by a clarifying sentence in English. And of course, the performers always act it out.\u003c/p>\n\u003cp>“Communication can happen in a lot of different ways rather than just language,” Pinto said.\u003c/p>\n\u003cp>Some people in the company are bilingual. But many only speak Spanish or English. Yet everyone in the cast delivers lines in both languages.\u003c/p>\n\u003cp>The Imaginists have done six bilingual plays to date including \u003cem>Extranjeros en su Propia Tierra/Strangers in Their Own Land\u003c/em> and \u003cem>REAL\u003c/em>. When new scripts are doled out for the company’s bilingual plays, actors who only speak one language learn the other from fellow cast members who are fluent in the other tongue. The actors say the process is a humbling and empowering exchange for everyone.\u003c/p>\n\u003cp>\u003cstrong>An approachable approach\u003c/strong>\u003c/p>\n\u003cp>One goal of the Imaginists is to make theater unintimidating and integrated into the community. The company does this by using untrained actors from the community, bicycles and lots of humor. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, actors rap, dance and employ slapstick comedy.\u003c/p>\n\u003cp>“We aim to develop an atmosphere of trust,” Lindsay said. “The way you introduce people to that environment is of course opening up and to become vulnerable with us. Laughter is of course a perfect opportunity to open people up.”\u003c/p>\n\u003cp>The plays also incorporate audience participation. In \u003cem>The Butterfly’s Evil Spell\u003c/em>, the audience is invited to dance on stage, sing along to songs, and even dictate how Lorca’s conclusion-less play will end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" size-medium wp-image-10834899 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg\" alt=\"IMG_4329\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4329-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Actors ask the audience for suggestions for a suitable ending. After the crowd votes for a favorite, the cast improvises the finale. Last Friday the lovers ended up together but dead.\u003c/p>\n\u003cp>“How they got the kids involved was very creative. The people are part of the play,” said audience member Omar Gallardo. Gallardo is the outreach and diversity director of LandPaths, a stewardship organization that connects Sonoma County residents with open spaces.\u003c/p>\n\u003cp>The company draws a diverse audience, ranging from toddlers to older people. Both Latinos and non-Hispanic whites are in attendance.\u003c/p>\n\u003cp>Sitting in the audience, it’s clear that the spectators appreciate the performance. However Lindsay said Santa Rosa as a whole has not been particularly open to the Imaginists’ approach. He says it has taken a long time for the Santa Rosa establishment to come around.\u003c/p>\n\u003cp>“Especially in Santa Rosa and Sonoma, it was difficult to convince people that what you were doing was anything but amateur,” Lindsay said. “To convince people that the ideas were coming from the right place, that took at least five years.”\u003c/p>\n\u003cp>Lindsay says what really sparked local attention was recognition from outside Santa Rosa, including grants from the National Endowment for the Arts and reviews from publications in the East Bay and San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Art reflects life, life reflects art\u003c/strong>\u003c/p>\n\u003cp>The troupe not only adapts plays and poems but also produces original works for the stage. When choosing what to produce, Lindsay and Pinto try to pick subjects to which their community can relate.\u003c/p>\n\u003cp>In one of the Imaginists’ current productions, \u003cem>The Art is Medicine Show/El Show El Arte Es Medicina\u003c/em>, actress Dulce Precido recites a poem by Francisco Larcon, “First Day of School.” It’s about a newly immigrated child being handed off to a teacher whose language the child cannot understand.\u003c/p>\n\u003cp>“It’s my story,” said Precido, who left Mexico for California in 2002. “When I went to school, I didn’t speak English and couldn’t understand the teacher.”\u003c/p>\n\u003cp>One of the early bilingual plays, \u003cem>Foreigners in Their Own Land/Extranjeros en Su Propia Tierra,\u003c/em> the Imaginists tackled border crossings and deportation. An actress named Laura took the role of a woman who was going to be deported. Two years later, fiction became reality and Laura was in fact deported.\u003c/p>\n\u003cp>“Every one of the stories that are told in the play were real, but we never imagined that the story of Laura being deported was going to be real,” actor Sergio Zavala said. “It’s tough for us to come back and participate in the Imaginists after group members have been deported. So sometimes you can feel alone, but the Imaginists are loving and offer support.”\u003c/p>\n\u003cfigure id=\"attachment_10834905\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10834905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg\" alt=\"Actor Sergio Zavalo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4378-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Sergio Zavalo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Butterfly’s Evil Spell/\u003c/b>\u003cstrong>El Maleficio de la Mariposa \u003c/strong>\u003c/p>\n\u003cp>July 19 – Humboldt Park @ 4pm\u003cbr>\nJuly 24 – MLK Park @ 7 pm\u003cbr>\nJuly 25 – Finley Park @ 4pm\u003c/p>\n\u003cp>\u003cstrong>The Art is Medicine Shoe/El Show el Arte es Medicina\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>July 21 – MLK Park @ 12:30\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "War Memorial Veterans Building Sheds Institutional Look with Major Facelift",
"headTitle": "War Memorial Veterans Building Sheds Institutional Look with Major Facelift | KQED",
"content": "\u003cp>Over the past few years, San Francisco’s \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">War Memorial Veterans Building\u003c/a> gradually shed its institutional office look. The august old space, site of the signing of the United Nations charter in 1945 and countless performance and literary events, temporarily closed for massive renovations in 2013 and reopens at the end of September.\u003c/p>\n\u003cp>The renovations to the Veterans Building, part of the larger War Memorial and Performing Arts Center complex (which also includes the opera house and Davies Symphony Hall) cost more than $150 million in total. The city of San Francisco, as well as grant makers like the Herbst Foundation provided funding for the project.\u003c/p>\n\u003cp>The Veterans Building originally opened in 1932. It hasn’t had a major facelift since the late 1970s.\u003c/p>\n\u003cfigure id=\"attachment_10841928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841928\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg\" alt=\"Renovations underway at the Veterans Building\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Renovations underway at the Veterans Building \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the most significant upgrades to the public areas of the site are the installation of a cafe with outdoor seating (scheduled to open in January 2016), new boxes in the Herbst Theatre auditorium with improved acoustics and sight lines, better acoustics, fresh paint and stage curtains, restored chandeliers, enlarged gallery space and the addition of restrooms on every floor. (The last item is a particular coup as patrons used to have to scurry to the basement to use the facilities.)\u003c/p>\n\u003cp>Rescuing the theater’s walls from ill-advised 1970s pink and orange to the original ochre color, the new paint job also helps highlight a series of large-scale murals that adorn the sides of the auditorium. Depicting the four elements — air, earth, fire and water — the murals were originally created by artist Frank Brangwyn for the Pan Pacific International Exposition in 1915.\u003c/p>\n\u003cfigure id=\"attachment_10841931\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841931\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg\" alt=\"A view from the balcony in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the balcony in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the aesthetic improvements, the building underwent significant seismic retrofitting. The concrete and steel reinforcement system is mostly embedded in the walls, hidden from view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The changes aren’t just for audience members. Artists who perform at the Herbst Theatre, hosted by organizations like the New Century Chamber Orchestra, the Philharmonia Baroque Orchestra and San Francisco Performances, also stand to benefit greatly. Most notably, there’s the swanky new 5,000 square-foot “Backstage Suite.” It includes five airy dressing rooms, a performers’ lounge and a rehearsal room.\u003c/p>\n\u003cp>And for the first time in its history, the Herbst has easily accessible dressing rooms. In the past, the cramped artist facilities were located on mezzanine levels flanking the stage and in the basement.\u003c/p>\n\u003cp>“Before, you had to take a circular spiral staircase to get to your dressing room,” Elizabeth Murray, managing director of the San Francisco War Memorial and Performing Arts Center said.\u003c/p>\n\u003cp>The dressing rooms themselves are bigger and brighter. Many of the furnishings, such as the dressing room tables, were salvaged from the old dressing rooms — an effort to be environmentally conscious and cost-efficient.\u003c/p>\n\u003cfigure id=\"attachment_10841932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg\" alt=\"A view from the new boxes in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the new boxes in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The artists used to have to warm up in the public hallways and bathrooms,” Murray said. “Now they don’t have to.”\u003c/p>\n\u003cp>Another major addition to the building is the Diane Wilsey Center for Opera on the fourth floor. The center includes a 330-seat performance space dedicated to opera. Construction on this piece of the project is expected to continue through October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve always loved this theater,” San Francisco Performances president Ruth Felt said. “Now we’ll love it even more.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few years, San Francisco’s \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">War Memorial Veterans Building\u003c/a> gradually shed its institutional office look. The august old space, site of the signing of the United Nations charter in 1945 and countless performance and literary events, temporarily closed for massive renovations in 2013 and reopens at the end of September.\u003c/p>\n\u003cp>The renovations to the Veterans Building, part of the larger War Memorial and Performing Arts Center complex (which also includes the opera house and Davies Symphony Hall) cost more than $150 million in total. The city of San Francisco, as well as grant makers like the Herbst Foundation provided funding for the project.\u003c/p>\n\u003cp>The Veterans Building originally opened in 1932. It hasn’t had a major facelift since the late 1970s.\u003c/p>\n\u003cfigure id=\"attachment_10841928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841928\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg\" alt=\"Renovations underway at the Veterans Building\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Renovations underway at the Veterans Building \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the most significant upgrades to the public areas of the site are the installation of a cafe with outdoor seating (scheduled to open in January 2016), new boxes in the Herbst Theatre auditorium with improved acoustics and sight lines, better acoustics, fresh paint and stage curtains, restored chandeliers, enlarged gallery space and the addition of restrooms on every floor. (The last item is a particular coup as patrons used to have to scurry to the basement to use the facilities.)\u003c/p>\n\u003cp>Rescuing the theater’s walls from ill-advised 1970s pink and orange to the original ochre color, the new paint job also helps highlight a series of large-scale murals that adorn the sides of the auditorium. Depicting the four elements — air, earth, fire and water — the murals were originally created by artist Frank Brangwyn for the Pan Pacific International Exposition in 1915.\u003c/p>\n\u003cfigure id=\"attachment_10841931\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841931\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg\" alt=\"A view from the balcony in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the balcony in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the aesthetic improvements, the building underwent significant seismic retrofitting. The concrete and steel reinforcement system is mostly embedded in the walls, hidden from view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The changes aren’t just for audience members. Artists who perform at the Herbst Theatre, hosted by organizations like the New Century Chamber Orchestra, the Philharmonia Baroque Orchestra and San Francisco Performances, also stand to benefit greatly. Most notably, there’s the swanky new 5,000 square-foot “Backstage Suite.” It includes five airy dressing rooms, a performers’ lounge and a rehearsal room.\u003c/p>\n\u003cp>And for the first time in its history, the Herbst has easily accessible dressing rooms. In the past, the cramped artist facilities were located on mezzanine levels flanking the stage and in the basement.\u003c/p>\n\u003cp>“Before, you had to take a circular spiral staircase to get to your dressing room,” Elizabeth Murray, managing director of the San Francisco War Memorial and Performing Arts Center said.\u003c/p>\n\u003cp>The dressing rooms themselves are bigger and brighter. Many of the furnishings, such as the dressing room tables, were salvaged from the old dressing rooms — an effort to be environmentally conscious and cost-efficient.\u003c/p>\n\u003cfigure id=\"attachment_10841932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg\" alt=\"A view from the new boxes in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the new boxes in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The artists used to have to warm up in the public hallways and bathrooms,” Murray said. “Now they don’t have to.”\u003c/p>\n\u003cp>Another major addition to the building is the Diane Wilsey Center for Opera on the fourth floor. The center includes a 330-seat performance space dedicated to opera. Construction on this piece of the project is expected to continue through October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve always loved this theater,” San Francisco Performances president Ruth Felt said. “Now we’ll love it even more.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Playhouse's 'Company' Presents 1970s Take on Marriage",
"headTitle": "SF Playhouse’s ‘Company’ Presents 1970s Take on Marriage | 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/company/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Company’\u003c/h2>\n\u003cdiv class=\"event-desc\">Stephen Sondheim and George Furth’s matrimonial musical.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Francisco Playhouse\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/company/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Stephen Sondheim and George Furth’s 1970 musical about marriage, \u003cem>Company,\u003c/em> is a product of its times. As an affable bachelor, Robert, moves through his 36th year in a blur of dinner parties with married friends and dates with women whom he doesn’t care that much about, clichés abound: The wives are crazy and spend their time making gossip; the husbands are dumb and spend their time making dirty jokes.\u003c/p>\n\u003cp>The American domestic sitcom was built on such stuff.\u003c/p>\n\u003cp>Offering alternately funny, touching or bittersweet snapshots of a bunch of marital relationships\u003ci>, \u003c/i>the emotional content of \u003cem>Company \u003c/em>is in many ways timeless. Sondheim and Furth’s songs, like “The Little Things You Do Together” and “Sorry-Grateful,” repeatedly bring out the crazy-making paradox of feelings people have for one another when they’re in it for the long haul.\u003c/p>\n\u003cp>Director Susi Damilano’s entertaining production for \u003ca href=\"http://sfplayhouse.org/sfph/company/\" target=\"_blank\" rel=\"noopener\">SF Playhouse\u003c/a>, performed with precision and gusto by an endearing ensemble cast, certainly draws out the complexities of these human relationships throughout. Monique Hafen gives a particularly standout performance as the batty, soon-to-be-wed Amy. Hafen reels off the anxiety-choked lyrics of her character’s big number, “Getting Married Today,” with frayed brilliance, her small frame flailing jaggedly at the thought of having to walk down the aisle. Against Bill English and Jacquelyn Scott’s stark, scaffolding-heavy set, this young woman’s pre-nuptial psychotic break feels like she’s heading to the gallows rather than to a wedding party. The actress’s comic timing is impeccable.\u003c/p>\n\u003cp>Aided by joyous live music provided by a pair of pianists who toss Sondheim’s playful phrases back and forth while seated at matching baby grand pianos on either side of the stage, Damilano’s fluid mise-en-scene seamlessly connects Sondheim and Furth’s plotless vignettes. As a result, the whole show possesses an effortless swing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet although the show is undeniably a good time, what this \u003cem>Company\u003c/em> seems weirdly oblivious to is just how far the institution of marriage has come in this country since Sondheim and Furth penned those songs.\u003c/p>\n\u003cp>Back in 1970, gay and lesbian relationships simply weren’t openly depicted on the Broadway stage. (The earliest musicals with gay characters — \u003cem>The Faggot\u003c/em> and the\u003cem> Rocky Horror Show\u003c/em> — didn’t appear on the scene until 1973.) As such, Sondheim and Furth stuck to depicting the connubial lives of five straight couples. What’s more, they barely even touched on the piquant issues of the day that impacted many of those marriages, like women’s lib and wife-swapping.\u003c/p>\n\u003cfigure id=\"attachment_10836943\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10836943\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Company2.jpg\" alt=\"April (Morgan Dayley), Kathy (Michelle Drexler), and Marta (Teresa Attridge) in SF Playhouse's production of 'Company.' \" width=\"640\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Company2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Company2-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">April (Morgan Dayley), Kathy (Michelle Drexler), and Marta (Teresa Attridge) in SF Playhouse’s production of ‘Company.’ (Photo: Jessica Palopoli/SF Playhouse)\u003c/figcaption>\u003c/figure>\n\u003cp>But in 2015, and in the Bay Area especially, it seems strange to experience a work of art about marriage that deals exclusively with the heterosexual kind. And \u003cem>Company\u003c/em> is a musical that seems ripe for exploration beyond the realm of male-female relationships. For one thing, there’s little about the characters in this plotless work that necessitates an intrinsically straight approach. For another, as a man who did not come out as gay until he was about 40, Sondheim would probably welcome a gay, lesbian, bisexual or transgender couple or two in the mix.\u003c/p>\n\u003cp>The show was obviously cast long before before the Supreme Court blew open the definition of marriage last month, and in so doing changed not just the lives of people in LGBT relationships, but also touched the entire nation.\u003c/p>\n\u003cp>One could argue (albeit weakly) that because Damilano and her collaborators doubtless had to make casting decisions ahead of the Supreme Court ruling, how could they have known to include at least one non-hetero-normative couple on the SF Playhouse stage? But even without the blaring headlines, SF Playhouse’s straight-laced casting would have felt dated even a decade ago. Worse than that, the company has wasted an opportunity to capitalize and create commentary on one of the most pressing civil rights issues of this moment.\u003c/p>\n\u003cp>In his program notes, the organization’s artistic director, Bill English, asks: “Is marriage dated?” But it’s not marriage that’s dated; it’s SF Playhouse’s conception of the institution that seems to be behind the times.\u003c/p>\n\u003cp>UPDATE:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an email after this review initially went live, SF Playhouse’s press representative, Anne Abrams, said that Damilano’s original concept for the show in fact revolved around “portraying the protagonist Bobby as bisexual, struggling with his sexuality, even going so far as to consider having one of the people he dates be a man to underscore his struggle.” Abrams said that when SF Playhouse approached Music Theatre International, the license holder of \u003cem>Company\u003c/em>, about making tweaks to the casting along these lines, the request “received a resounding emphatic NO.”\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/company/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Company’\u003c/h2>\n\u003cdiv class=\"event-desc\">Stephen Sondheim and George Furth’s matrimonial musical.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Francisco Playhouse\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/company/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Stephen Sondheim and George Furth’s 1970 musical about marriage, \u003cem>Company,\u003c/em> is a product of its times. As an affable bachelor, Robert, moves through his 36th year in a blur of dinner parties with married friends and dates with women whom he doesn’t care that much about, clichés abound: The wives are crazy and spend their time making gossip; the husbands are dumb and spend their time making dirty jokes.\u003c/p>\n\u003cp>The American domestic sitcom was built on such stuff.\u003c/p>\n\u003cp>Offering alternately funny, touching or bittersweet snapshots of a bunch of marital relationships\u003ci>, \u003c/i>the emotional content of \u003cem>Company \u003c/em>is in many ways timeless. Sondheim and Furth’s songs, like “The Little Things You Do Together” and “Sorry-Grateful,” repeatedly bring out the crazy-making paradox of feelings people have for one another when they’re in it for the long haul.\u003c/p>\n\u003cp>Director Susi Damilano’s entertaining production for \u003ca href=\"http://sfplayhouse.org/sfph/company/\" target=\"_blank\" rel=\"noopener\">SF Playhouse\u003c/a>, performed with precision and gusto by an endearing ensemble cast, certainly draws out the complexities of these human relationships throughout. Monique Hafen gives a particularly standout performance as the batty, soon-to-be-wed Amy. Hafen reels off the anxiety-choked lyrics of her character’s big number, “Getting Married Today,” with frayed brilliance, her small frame flailing jaggedly at the thought of having to walk down the aisle. Against Bill English and Jacquelyn Scott’s stark, scaffolding-heavy set, this young woman’s pre-nuptial psychotic break feels like she’s heading to the gallows rather than to a wedding party. The actress’s comic timing is impeccable.\u003c/p>\n\u003cp>Aided by joyous live music provided by a pair of pianists who toss Sondheim’s playful phrases back and forth while seated at matching baby grand pianos on either side of the stage, Damilano’s fluid mise-en-scene seamlessly connects Sondheim and Furth’s plotless vignettes. As a result, the whole show possesses an effortless swing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet although the show is undeniably a good time, what this \u003cem>Company\u003c/em> seems weirdly oblivious to is just how far the institution of marriage has come in this country since Sondheim and Furth penned those songs.\u003c/p>\n\u003cp>Back in 1970, gay and lesbian relationships simply weren’t openly depicted on the Broadway stage. (The earliest musicals with gay characters — \u003cem>The Faggot\u003c/em> and the\u003cem> Rocky Horror Show\u003c/em> — didn’t appear on the scene until 1973.) As such, Sondheim and Furth stuck to depicting the connubial lives of five straight couples. What’s more, they barely even touched on the piquant issues of the day that impacted many of those marriages, like women’s lib and wife-swapping.\u003c/p>\n\u003cfigure id=\"attachment_10836943\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10836943\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Company2.jpg\" alt=\"April (Morgan Dayley), Kathy (Michelle Drexler), and Marta (Teresa Attridge) in SF Playhouse's production of 'Company.' \" width=\"640\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Company2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Company2-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">April (Morgan Dayley), Kathy (Michelle Drexler), and Marta (Teresa Attridge) in SF Playhouse’s production of ‘Company.’ (Photo: Jessica Palopoli/SF Playhouse)\u003c/figcaption>\u003c/figure>\n\u003cp>But in 2015, and in the Bay Area especially, it seems strange to experience a work of art about marriage that deals exclusively with the heterosexual kind. And \u003cem>Company\u003c/em> is a musical that seems ripe for exploration beyond the realm of male-female relationships. For one thing, there’s little about the characters in this plotless work that necessitates an intrinsically straight approach. For another, as a man who did not come out as gay until he was about 40, Sondheim would probably welcome a gay, lesbian, bisexual or transgender couple or two in the mix.\u003c/p>\n\u003cp>The show was obviously cast long before before the Supreme Court blew open the definition of marriage last month, and in so doing changed not just the lives of people in LGBT relationships, but also touched the entire nation.\u003c/p>\n\u003cp>One could argue (albeit weakly) that because Damilano and her collaborators doubtless had to make casting decisions ahead of the Supreme Court ruling, how could they have known to include at least one non-hetero-normative couple on the SF Playhouse stage? But even without the blaring headlines, SF Playhouse’s straight-laced casting would have felt dated even a decade ago. Worse than that, the company has wasted an opportunity to capitalize and create commentary on one of the most pressing civil rights issues of this moment.\u003c/p>\n\u003cp>In his program notes, the organization’s artistic director, Bill English, asks: “Is marriage dated?” But it’s not marriage that’s dated; it’s SF Playhouse’s conception of the institution that seems to be behind the times.\u003c/p>\n\u003cp>UPDATE:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an email after this review initially went live, SF Playhouse’s press representative, Anne Abrams, said that Damilano’s original concept for the show in fact revolved around “portraying the protagonist Bobby as bisexual, struggling with his sexuality, even going so far as to consider having one of the people he dates be a man to underscore his struggle.” Abrams said that when SF Playhouse approached Music Theatre International, the license holder of \u003cem>Company\u003c/em>, about making tweaks to the casting along these lines, the request “received a resounding emphatic NO.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland has a new \u003ca href=\"http://www.oaklandlibrary.org/teens/events-programs/youth-poet-laureate-program\" target=\"_blank\" rel=\"noopener\">Youth Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>She is Tova Ricardo, a 16 year old junior at the\u003ca href=\"http://www.bentleyschool.net/page\" target=\"_blank\" rel=\"noopener\"> Bentley School\u003c/a> in Lafayette. Ricardo was selected Saturday evening after a reading at\u003ca href=\"http://www.proartsgallery.org/\" target=\"_blank\" rel=\"noopener\"> Pro-Arts Gallery\u003c/a> in Oakland across from Oakland City Hall.\u003c/p>\n\u003cp>Ricardo was one of seven semi-finalists at the reading, one of the opening events for \u003ca href=\"http://beastcrawl.weebly.com/\" target=\"_blank\" rel=\"noopener\">Oakland’s Beast Literary Crawl\u003c/a>. The room was packed with more than a hundred family members and poetry lovers as Ricardo and fellow Oakland teens read and chanted angry and jubilant poems about such themes as family, immigration, and how black lives matter.\u003c/p>\n\u003cfigure id=\"attachment_10835871\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835871\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg\" alt=\"16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The youth poet laureate program, begun in 2012, is sponsored by the writing training organization \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and the Oakland Public Library.\u003c/p>\n\u003cp>Ricardo read a poem that was a tribute to her grandfather, a Korean war veteran, and his tiger tattoo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I thought of the tiger tattoo that flaunted its paws across the forearms of bronze steel muscles that replicated scribbly lines to the six year old instead of contorted rivers,” Ricardo read. “The tiger tattoo who belonged to the southern rugged fields of southern rugged men that roared as a distraction at the family dining table as the seven year old spilled the rice and beans in the midst of admiring the ancient artwork.”\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf presented Ricardo with a scholarship check for $5,000.\u003c/p>\n\u003cfigure id=\"attachment_10835873\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg\" alt='Ericson Amaya reading his poem about immigration, \"Harriet Tubman was our first coyote.\"' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ericson Amaya reading his poem about immigration, “Harriet Tubman was our first coyote.” \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>“Poetry has been the one thing that has kept me sane on this crazy crazy planet,” Ricardo, the winning poet, said in a brief acceptance speech. “And I just want us, the youth, to just change this world, to go out there and fight this crazy, crazy system that’s trying to knock all of us down and just speak our truth, because that’s the only thing that’s going to save us. We’re going to save us.”\u003c/p>\n\u003cp>Ricardo’s writing teacher, Peter Hagen, was at the ceremony. Hagen said Ricardo had only taken his class once before becoming earning the title. “She just ripped the doors off,” Hagen said.\u003c/p>\n\u003cp>Other youth poets performed their works alongside Ricardo. 18 year old Emerson Amaya, a student at Coliseum College Prep Academy, read a poem that he described as being about “the black brown unity that Oakland really needs.”\u003c/p>\n\u003cp>“The most powerful thing is when we have young folks together sharing space and telling stories,” Youth Speaks Teaching Artist Gabriel Cortez said. Cortez who emceed the reading.\u003c/p>\n\u003cp>Ricardo takes over youth poet laureate duties from the 2014 laureate Sophie Elkin, a student at Oakland School for the Arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Oakland Public Library and Youth Speaks will schedule more readings for Ricardo this coming year at schools and senior centers.\u003c/p>\n\n",
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"excerpt": "Tova Ricardo, a 16 year old junior at the Bentley School in Lafayette, performed her winning poem at an event in downtown Oakland Saturday night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland has a new \u003ca href=\"http://www.oaklandlibrary.org/teens/events-programs/youth-poet-laureate-program\" target=\"_blank\" rel=\"noopener\">Youth Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>She is Tova Ricardo, a 16 year old junior at the\u003ca href=\"http://www.bentleyschool.net/page\" target=\"_blank\" rel=\"noopener\"> Bentley School\u003c/a> in Lafayette. Ricardo was selected Saturday evening after a reading at\u003ca href=\"http://www.proartsgallery.org/\" target=\"_blank\" rel=\"noopener\"> Pro-Arts Gallery\u003c/a> in Oakland across from Oakland City Hall.\u003c/p>\n\u003cp>Ricardo was one of seven semi-finalists at the reading, one of the opening events for \u003ca href=\"http://beastcrawl.weebly.com/\" target=\"_blank\" rel=\"noopener\">Oakland’s Beast Literary Crawl\u003c/a>. The room was packed with more than a hundred family members and poetry lovers as Ricardo and fellow Oakland teens read and chanted angry and jubilant poems about such themes as family, immigration, and how black lives matter.\u003c/p>\n\u003cfigure id=\"attachment_10835871\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835871\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg\" alt=\"16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2502-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">16 year old Litzy Castillo, a student at MetWest High School, thrills the crowd with her poem \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The youth poet laureate program, begun in 2012, is sponsored by the writing training organization \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and the Oakland Public Library.\u003c/p>\n\u003cp>Ricardo read a poem that was a tribute to her grandfather, a Korean war veteran, and his tiger tattoo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I thought of the tiger tattoo that flaunted its paws across the forearms of bronze steel muscles that replicated scribbly lines to the six year old instead of contorted rivers,” Ricardo read. “The tiger tattoo who belonged to the southern rugged fields of southern rugged men that roared as a distraction at the family dining table as the seven year old spilled the rice and beans in the midst of admiring the ancient artwork.”\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf presented Ricardo with a scholarship check for $5,000.\u003c/p>\n\u003cfigure id=\"attachment_10835873\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10835873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg\" alt='Ericson Amaya reading his poem about immigration, \"Harriet Tubman was our first coyote.\"' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_2499-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ericson Amaya reading his poem about immigration, “Harriet Tubman was our first coyote.” \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>“Poetry has been the one thing that has kept me sane on this crazy crazy planet,” Ricardo, the winning poet, said in a brief acceptance speech. “And I just want us, the youth, to just change this world, to go out there and fight this crazy, crazy system that’s trying to knock all of us down and just speak our truth, because that’s the only thing that’s going to save us. We’re going to save us.”\u003c/p>\n\u003cp>Ricardo’s writing teacher, Peter Hagen, was at the ceremony. Hagen said Ricardo had only taken his class once before becoming earning the title. “She just ripped the doors off,” Hagen said.\u003c/p>\n\u003cp>Other youth poets performed their works alongside Ricardo. 18 year old Emerson Amaya, a student at Coliseum College Prep Academy, read a poem that he described as being about “the black brown unity that Oakland really needs.”\u003c/p>\n\u003cp>“The most powerful thing is when we have young folks together sharing space and telling stories,” Youth Speaks Teaching Artist Gabriel Cortez said. Cortez who emceed the reading.\u003c/p>\n\u003cp>Ricardo takes over youth poet laureate duties from the 2014 laureate Sophie Elkin, a student at Oakland School for the Arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Oakland Public Library and Youth Speaks will schedule more readings for Ricardo this coming year at schools and senior centers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "\"Matilda\" Songwriter On How Reading Makes a Superhero",
"headTitle": "“Matilda” Songwriter On How Reading Makes a Superhero | KQED",
"content": "\u003cp>Composer and performer Tim Minchin used to write for children’s theater. So maybe it’s natural that he got the gig to write music and lyrics for the Tony and Olivier Award-winning “Matilda the Musical,” based on the novel by Roald Dahl. The show opens Wednesday, July 15 at The Orpheum Theater in San Francisco.\u003c/p>\n\u003cp>Minchin is also a versatile performer. He was a deranged rocker on Showtime’s “Californication.” And he’s huge star in his native Australia and in England doing a cabaret act, wearing enough eye shadow to be mistaken for a raccoon, and mixing stand-up comedy and songs about kids, sex, science and religion. (He’s a confirmed atheist, even though one of his biggest hits is a song about Christmas.)\u003c/p>\n\u003cp>For his next project, he’s reuniting with Matilda director Matthew Warchus composing music and lyrics for a musical adaptation of Harold Ramis’ “Groundhog Day,” scheduled to debut next spring on the stage of the Old Vic in London, and move to Broadway in 2017.\u003c/p>\n\u003cp>KQED recently sat down with Minchin to talk about his life and take on \u003cem>Matilda\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong> Tell me about your musical education. What did you listen to growing up?\u003cbr>\n\u003c/strong>\u003cbr>\nI’m not that common in terms of Broadway composers in that I’m mostly self-taught as a musician. My cultural references are not particularly relatable to Americans or even the English, because I grew up in Western Australia. And all my music background came from my brother who was listening to all these Australian rock and pop bands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But at the same time, my grandmother and my mum took us to see all the Gilbert and Sullivan shows that were on at the local theater. So I’m a great fan of lyrical trickery and density. And that might have been an influence. But then the big bands in my life, aside from the Beatles, were Queen and the Kinks. Ray Davies of the Kinks went from writing “Waterloo Sunset,” which for me was one of the most beautiful songs ever written, to “A Dedicated Follower of Fashion,” which is absolute social satire. So I was always, in hindsight, a fan of people who wrote songs that weren’t lyrically vapid.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QA5gJ0hZpCc\u003c/p>\n\u003cp>Then I got the call from the Royal Shakespeare Company saying, “Have you heard of \u003cem>Matilda\u003c/em> and Roald Dahl? We’ve got the rights to do it as a musical.” \u003cspan style=\"line-height: 1.5\">And I went, “Yeah. And not only have I heard of it, but I thought about writing it as a musical 10 years ago.”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>So you were a fan of Roald Dahl?\u003c/strong>\u003c/p>\n\u003cp>Dahl is without any exaggeration the author of my childhood. I read everything. I can picture his books on my bookshelf when I was a kid. My daughter’s first novel I ever read to her was \u003cem>Charlie and the Chocolate Factory\u003c/em>.\u003c/p>\n\u003cp>I had actually written to the Dahl estate and asked about the rights to \u003cem>Matilda\u003c/em> when I was writing children’s theater in Perth. It’s the only time I’ve ever written to anyone about rights. And then nine years later, in a total coincidence, they came and asked me to do it.\u003c/p>\n\u003cp>\u003cstrong>So the producers of \u003cem>Matilda\u003c/em> heard about you. What were they responding to in your work? It’s pretty profane stuff for the composer of a family-friendly Broadway musical.\u003c/strong>\u003c/p>\n\u003cp>In fact I was suggested to the director Matthew Warchus by the RSC dramaturg Jeanie O’Hare, She said, “You should go have a look at Tim Minchin. He writes these clever wordy comedy songs, and they’re very dark, and that’s surely the sort of thing we want for Dahl.”\u003c/p>\n\u003cp>So Matthew came along to my show, with my songs about science and religion — slightly contentious topics. At the very end of the show, he had pretty much decided I was very heady, but he didn’t think I had the heart or the emotional access to write the music for \u003cem>Matilda\u003c/em>.\u003c/p>\n\u003cp>He was about to grab his jacket and go, and I came on to do my encore. I always like to do sentimental encores. I sang a song called “White Wine in the Sun,” which is a song about Christmas and taking my baby daughter home to see her family, that is a real weeper and really kicks people in the guts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fCNvZqpa-7Q\u003c/p>\n\u003cp>Matthew just changed his mind, spun on a dime. As far as I know — he’d have to verify this story — he went back and said, “It’s that guy or I’m not doing it.”\u003c/p>\n\u003cp>\u003cstrong>So how do you balance songs that are smart, funny and tell a story with ones that touch the hearts of those in the audience?\u003c/strong>\u003c/p>\n\u003cp>I was part of making a musical that’s become successful. But one wants to be very careful in assuming that I know something about musicals.\u003c/p>\n\u003cp>When it comes to theater, the most important thing for me is you never forget that you’re telling a story and that you must connect to what that character is going through and what we want to know about them at that point.\u003c/p>\n\u003cp>If you’re true to the story and caring about your characters, then there’s no decision to be made.\u003c/p>\n\u003cp>\u003cstrong>Even though this show is a musical comedy, the subject is very serious. How do you write songs about a girl who is really the victim of child abuse?\u003c/strong>\u003c/p>\n\u003cp>That’s right. But you don’t write a song in which Matilda sings, “It’s hard being a little girl locked in an attic.” You sing a song about her defiance. Matilda’s first song is about being naughty.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oewVISY1Yhs\u003c/p>\n\u003cp>When Matilda is oppressed by her parents, she finds little ways to take her power back by playing little tricks. And then as she goes on, she’s oppressed by a much greater force: by a school with a despot at the top, like a dictatorship. She has to draw on deeper knowledge, read more books.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bI5PdesXyxM\u003c/p>\n\u003cp>She has to move stuff with her eyes. In the end she’s a superhero. Her powers come from being cheeky and reading books.\u003c/p>\n\u003cp>I’m passionate about this musical because its role model is not only a genuine feminist icon, but is also an icon for an American narrative — that you can take power back for yourself. We need to create art that says to people, “Knowledge is power, not taking power with guns and beheadings. Read more. Read more. Read more.” Basically the musical says “read more.”\u003c/p>\n\u003cp>It’s a privileged middle class thing to say, “What everyone needs is more books.” But it’s true as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Composer and performer Tim Minchin used to write for children’s theater. So maybe it’s natural that he got the gig to write music and lyrics for the Tony and Olivier Award-winning “Matilda the Musical,” based on the novel by Roald Dahl. The show opens Wednesday, July 15 at The Orpheum Theater in San Francisco.\u003c/p>\n\u003cp>Minchin is also a versatile performer. He was a deranged rocker on Showtime’s “Californication.” And he’s huge star in his native Australia and in England doing a cabaret act, wearing enough eye shadow to be mistaken for a raccoon, and mixing stand-up comedy and songs about kids, sex, science and religion. (He’s a confirmed atheist, even though one of his biggest hits is a song about Christmas.)\u003c/p>\n\u003cp>For his next project, he’s reuniting with Matilda director Matthew Warchus composing music and lyrics for a musical adaptation of Harold Ramis’ “Groundhog Day,” scheduled to debut next spring on the stage of the Old Vic in London, and move to Broadway in 2017.\u003c/p>\n\u003cp>KQED recently sat down with Minchin to talk about his life and take on \u003cem>Matilda\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong> Tell me about your musical education. What did you listen to growing up?\u003cbr>\n\u003c/strong>\u003cbr>\nI’m not that common in terms of Broadway composers in that I’m mostly self-taught as a musician. My cultural references are not particularly relatable to Americans or even the English, because I grew up in Western Australia. And all my music background came from my brother who was listening to all these Australian rock and pop bands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But at the same time, my grandmother and my mum took us to see all the Gilbert and Sullivan shows that were on at the local theater. So I’m a great fan of lyrical trickery and density. And that might have been an influence. But then the big bands in my life, aside from the Beatles, were Queen and the Kinks. Ray Davies of the Kinks went from writing “Waterloo Sunset,” which for me was one of the most beautiful songs ever written, to “A Dedicated Follower of Fashion,” which is absolute social satire. So I was always, in hindsight, a fan of people who wrote songs that weren’t lyrically vapid.\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/QA5gJ0hZpCc'\n title='//www.youtube.com/embed/QA5gJ0hZpCc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then I got the call from the Royal Shakespeare Company saying, “Have you heard of \u003cem>Matilda\u003c/em> and Roald Dahl? We’ve got the rights to do it as a musical.” \u003cspan style=\"line-height: 1.5\">And I went, “Yeah. And not only have I heard of it, but I thought about writing it as a musical 10 years ago.”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>So you were a fan of Roald Dahl?\u003c/strong>\u003c/p>\n\u003cp>Dahl is without any exaggeration the author of my childhood. I read everything. I can picture his books on my bookshelf when I was a kid. My daughter’s first novel I ever read to her was \u003cem>Charlie and the Chocolate Factory\u003c/em>.\u003c/p>\n\u003cp>I had actually written to the Dahl estate and asked about the rights to \u003cem>Matilda\u003c/em> when I was writing children’s theater in Perth. It’s the only time I’ve ever written to anyone about rights. And then nine years later, in a total coincidence, they came and asked me to do it.\u003c/p>\n\u003cp>\u003cstrong>So the producers of \u003cem>Matilda\u003c/em> heard about you. What were they responding to in your work? It’s pretty profane stuff for the composer of a family-friendly Broadway musical.\u003c/strong>\u003c/p>\n\u003cp>In fact I was suggested to the director Matthew Warchus by the RSC dramaturg Jeanie O’Hare, She said, “You should go have a look at Tim Minchin. He writes these clever wordy comedy songs, and they’re very dark, and that’s surely the sort of thing we want for Dahl.”\u003c/p>\n\u003cp>So Matthew came along to my show, with my songs about science and religion — slightly contentious topics. At the very end of the show, he had pretty much decided I was very heady, but he didn’t think I had the heart or the emotional access to write the music for \u003cem>Matilda\u003c/em>.\u003c/p>\n\u003cp>He was about to grab his jacket and go, and I came on to do my encore. I always like to do sentimental encores. I sang a song called “White Wine in the Sun,” which is a song about Christmas and taking my baby daughter home to see her family, that is a real weeper and really kicks people in the guts.\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/fCNvZqpa-7Q'\n title='//www.youtube.com/embed/fCNvZqpa-7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Matthew just changed his mind, spun on a dime. As far as I know — he’d have to verify this story — he went back and said, “It’s that guy or I’m not doing it.”\u003c/p>\n\u003cp>\u003cstrong>So how do you balance songs that are smart, funny and tell a story with ones that touch the hearts of those in the audience?\u003c/strong>\u003c/p>\n\u003cp>I was part of making a musical that’s become successful. But one wants to be very careful in assuming that I know something about musicals.\u003c/p>\n\u003cp>When it comes to theater, the most important thing for me is you never forget that you’re telling a story and that you must connect to what that character is going through and what we want to know about them at that point.\u003c/p>\n\u003cp>If you’re true to the story and caring about your characters, then there’s no decision to be made.\u003c/p>\n\u003cp>\u003cstrong>Even though this show is a musical comedy, the subject is very serious. How do you write songs about a girl who is really the victim of child abuse?\u003c/strong>\u003c/p>\n\u003cp>That’s right. But you don’t write a song in which Matilda sings, “It’s hard being a little girl locked in an attic.” You sing a song about her defiance. Matilda’s first song is about being naughty.\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/oewVISY1Yhs'\n title='//www.youtube.com/embed/oewVISY1Yhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Matilda is oppressed by her parents, she finds little ways to take her power back by playing little tricks. And then as she goes on, she’s oppressed by a much greater force: by a school with a despot at the top, like a dictatorship. She has to draw on deeper knowledge, read more books.\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/bI5PdesXyxM'\n title='//www.youtube.com/embed/bI5PdesXyxM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She has to move stuff with her eyes. In the end she’s a superhero. Her powers come from being cheeky and reading books.\u003c/p>\n\u003cp>I’m passionate about this musical because its role model is not only a genuine feminist icon, but is also an icon for an American narrative — that you can take power back for yourself. We need to create art that says to people, “Knowledge is power, not taking power with guns and beheadings. Read more. Read more. Read more.” Basically the musical says “read more.”\u003c/p>\n\u003cp>It’s a privileged middle class thing to say, “What everyone needs is more books.” But it’s true as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Supreme Court Justice Tells All in Thurgood Marshall Solo Show",
"headTitle": "Supreme Court Justice Tells All in Thurgood Marshall Solo Show | 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/thurgood/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Thurgood’\u003c/h2>\n\u003cdiv class=\"event-desc\">Lorraine Hansberry Theatre presents a solo show about Thurgood Marshall.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Lorraine Hansberry Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/thurgood/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Everybody’s been talking about the Supreme Court in the last couple of weeks as the nation responds to the historic June 26 \u003ca href=\"http://www.kqed.org/a/forum/R201506260900\">marriage equality ruling\u003c/a> confirming same-sex couples’ right to tie the knot.\u003c/p>\n\u003cp>As such, the timing couldn’t be more prescient for the Lorraine Hansberry Theatre’s production of \u003cem>Thurgood — \u003c/em>a solo show about Thurgood Marshall, the first African-American justice of the Supreme Court. Before that, Marshall was a great civil rights lawyer who represented the the National Association for the Advancement of Colored People (NAACP) in \u003cem>Brown vs. Board of Education\u003c/em>, the landmark 1954 Supreme Court case that unanimously declared racially segregated public schools unconstitutional.\u003c/p>\n\u003cp>Long San Francisco’s most prominent African-American theater company, the Lorraine Hansberry has kept a relatively low profile since it vacated its last home at the Post Street Theatre three years ago. The currently-nomadic organization is offering its subscribers “passport seasons” of plays produced by other theaters, such as Marin Theatre Company and American Conservatory Theater (ACT). It also produces occasional homegrown fare including staged readings, holiday shows or one-off events.\u003c/p>\n\u003cp>Now, the company returns with a full three-week run of \u003cem>Thurgood\u003c/em> starring its artistic director, veteran ACT actor Steven Anthony Jones.\u003c/p>\n\u003cp>In this biographical monologue by George Stevens Jr., Marshall visits his alma mater, Howard University, for a lecture in which he reviews his life and career from the streets of Baltimore to the highest court in the land.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jones took some time out from rehearsals to talk about the show.\u003c/p>\n\u003cfigure id=\"attachment_10826454\" class=\"wp-caption alignright\" style=\"max-width: 542px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826454\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\" alt=\"Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.'s biographical monologue Thurgood. (Photo: Gina Snow)\" width=\"542\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg 542w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-407x600.jpg 407w\" sizes=\"(max-width: 542px) 100vw, 542px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.’s biographical monologue \u003ci>Thurgood\u003c/i>. (Photo: Gina Snow/Lorraine Hansberry Theatre)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you describe \u003cem>Thurgood\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>If we’re going to talk in general terms, it is another of those one-man shows in which historical characters talk about their lives. The only reason that’s interesting is because that historical character was so important. I think we have forgotten what a major figure Thurgood Marshall was in the 20th century, in the civil rights movement particularly. The playwright couldn’t have known the storm of events—the emergence of “Black Lives Matter,” the examination of how the police conduct themselves, the fact that we have a black president, the controversy over the death penalty, the taking down of the Confederate flag. All of these things have come together in the news and in American society. And this play, in Thurgood Marshall’s voice, speaks out about all of that stuff. I mean, it’s as though the play were written six months ago.\u003c/p>\n\u003cp>\u003cstrong>This production turned out to be pretty timely, with so much excitement around the Supreme Court right now. \u003c/strong>\u003c/p>\n\u003cp>I can’t give myself credit for that. I would be lying if I said that I’d anticipated any of it. My initial thought was that this is a really important person historically and it harkens back to his being a leader in the civil rights movement. Race is always a topic. But Marshall and the people who worked with him risked their lives. Some people \u003cem>lost\u003c/em> their lives so that we today could live the way that we live. The Supreme Court, \u003cem>Brown v. Board of Education\u003c/em>, the \u003ca href=\"https://en.wikipedia.org/wiki/Loving_v._Virginia\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving\u003c/em> case\u003c/a> and the marriage equality movement are all game changers. The basis of Marshall’s strategy was the 14th Amendment. The judgment that the Supreme Court handed down on marriage equality was based on the 14th Amendment. I absolutely could never have foreseen that. I didn’t think I’d live to see a black president. For a lot of reasons, I feel like this is an amazing time.\u003c/p>\n\u003cp>\u003cstrong>What does this play have to say to the present moment? What could we stand to learn from Marshall’s story?\u003c/strong>\u003c/p>\n\u003cp>Marshall went to school with Langston Hughes and he credits Hughes with getting him to give up the party life when they were in college. So he finishes the play with a quote from a \u003ca href=\"http://www.poets.org/poetsorg/poem/let-america-be-america-again\" target=\"_blank\" rel=\"noopener\">Hughes poem\u003c/a>: “America never was America to me, and yet I swear this oath–America will be!” I really think that sums it up. Many people will freely admit, in terms of race, income equality and other issues that are important and that are recognized by a broad spectrum of people, there’s a whole lot left to do. For a lot of people, including LGBT and the poor, “America never was America, but America \u003cem>will be,”\u003c/em> because there are good people with their shoulders to the wheel that are continuing the work that Thurgood Marshall began.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Thurgood\u003c/em> runs through July 25, 2015 at the Creativity Theater in San Francisco. For \u003ca href=\"http://LHTSF.org\">tickets and information\u003c/a> visit LHTSF.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/thurgood/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Thurgood’\u003c/h2>\n\u003cdiv class=\"event-desc\">Lorraine Hansberry Theatre presents a solo show about Thurgood Marshall.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through July 25\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Lorraine Hansberry Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/thurgood/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Everybody’s been talking about the Supreme Court in the last couple of weeks as the nation responds to the historic June 26 \u003ca href=\"http://www.kqed.org/a/forum/R201506260900\">marriage equality ruling\u003c/a> confirming same-sex couples’ right to tie the knot.\u003c/p>\n\u003cp>As such, the timing couldn’t be more prescient for the Lorraine Hansberry Theatre’s production of \u003cem>Thurgood — \u003c/em>a solo show about Thurgood Marshall, the first African-American justice of the Supreme Court. Before that, Marshall was a great civil rights lawyer who represented the the National Association for the Advancement of Colored People (NAACP) in \u003cem>Brown vs. Board of Education\u003c/em>, the landmark 1954 Supreme Court case that unanimously declared racially segregated public schools unconstitutional.\u003c/p>\n\u003cp>Long San Francisco’s most prominent African-American theater company, the Lorraine Hansberry has kept a relatively low profile since it vacated its last home at the Post Street Theatre three years ago. The currently-nomadic organization is offering its subscribers “passport seasons” of plays produced by other theaters, such as Marin Theatre Company and American Conservatory Theater (ACT). It also produces occasional homegrown fare including staged readings, holiday shows or one-off events.\u003c/p>\n\u003cp>Now, the company returns with a full three-week run of \u003cem>Thurgood\u003c/em> starring its artistic director, veteran ACT actor Steven Anthony Jones.\u003c/p>\n\u003cp>In this biographical monologue by George Stevens Jr., Marshall visits his alma mater, Howard University, for a lecture in which he reviews his life and career from the streets of Baltimore to the highest court in the land.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jones took some time out from rehearsals to talk about the show.\u003c/p>\n\u003cfigure id=\"attachment_10826454\" class=\"wp-caption alignright\" style=\"max-width: 542px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826454\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg\" alt=\"Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.'s biographical monologue Thurgood. (Photo: Gina Snow)\" width=\"542\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB.jpg 542w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThurgoodB-407x600.jpg 407w\" sizes=\"(max-width: 542px) 100vw, 542px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones as Supreme Court Justice Thurgood Marshall in George Stevens Jr.’s biographical monologue \u003ci>Thurgood\u003c/i>. (Photo: Gina Snow/Lorraine Hansberry Theatre)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you describe \u003cem>Thurgood\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>If we’re going to talk in general terms, it is another of those one-man shows in which historical characters talk about their lives. The only reason that’s interesting is because that historical character was so important. I think we have forgotten what a major figure Thurgood Marshall was in the 20th century, in the civil rights movement particularly. The playwright couldn’t have known the storm of events—the emergence of “Black Lives Matter,” the examination of how the police conduct themselves, the fact that we have a black president, the controversy over the death penalty, the taking down of the Confederate flag. All of these things have come together in the news and in American society. And this play, in Thurgood Marshall’s voice, speaks out about all of that stuff. I mean, it’s as though the play were written six months ago.\u003c/p>\n\u003cp>\u003cstrong>This production turned out to be pretty timely, with so much excitement around the Supreme Court right now. \u003c/strong>\u003c/p>\n\u003cp>I can’t give myself credit for that. I would be lying if I said that I’d anticipated any of it. My initial thought was that this is a really important person historically and it harkens back to his being a leader in the civil rights movement. Race is always a topic. But Marshall and the people who worked with him risked their lives. Some people \u003cem>lost\u003c/em> their lives so that we today could live the way that we live. The Supreme Court, \u003cem>Brown v. Board of Education\u003c/em>, the \u003ca href=\"https://en.wikipedia.org/wiki/Loving_v._Virginia\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving\u003c/em> case\u003c/a> and the marriage equality movement are all game changers. The basis of Marshall’s strategy was the 14th Amendment. The judgment that the Supreme Court handed down on marriage equality was based on the 14th Amendment. I absolutely could never have foreseen that. I didn’t think I’d live to see a black president. For a lot of reasons, I feel like this is an amazing time.\u003c/p>\n\u003cp>\u003cstrong>What does this play have to say to the present moment? What could we stand to learn from Marshall’s story?\u003c/strong>\u003c/p>\n\u003cp>Marshall went to school with Langston Hughes and he credits Hughes with getting him to give up the party life when they were in college. So he finishes the play with a quote from a \u003ca href=\"http://www.poets.org/poetsorg/poem/let-america-be-america-again\" target=\"_blank\" rel=\"noopener\">Hughes poem\u003c/a>: “America never was America to me, and yet I swear this oath–America will be!” I really think that sums it up. Many people will freely admit, in terms of race, income equality and other issues that are important and that are recognized by a broad spectrum of people, there’s a whole lot left to do. For a lot of people, including LGBT and the poor, “America never was America, but America \u003cem>will be,”\u003c/em> because there are good people with their shoulders to the wheel that are continuing the work that Thurgood Marshall began.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Thurgood\u003c/em> runs through July 25, 2015 at the Creativity Theater in San Francisco. For \u003ca href=\"http://LHTSF.org\">tickets and information\u003c/a> visit LHTSF.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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/anais-mitchells-hadestown/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Hadestown’\u003c/h2>\n\u003cdiv class=\"event-desc\">Anaïs Mitchell’s mythology-inspired folk opera.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Freight & Salvage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/anais-mitchells-hadestown/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When singer/songwriter Anaïs Mitchell released her folk opera \u003cem>Hadestown\u003c/em> in 2009, the vivid reimagining of the Greek myth of the doomed lovers Orpheus and Eurydice clearly seemed inspired by the nation’s economic crisis.\u003c/p>\n\u003cp>Set in a Depression-era company town painted in the stark colors of a hard-boiled Dashiel Hammett dystopia, the album brought together an immoderately talented multi-generational cast of singers and instrumentalists, including Greg Brown (Hades), Ani DiFranco (Persephone), Bon Iver’s Justin Vernon (Orpheus), and Petra, Rachel and Tanya Haden (the Fates). But Mitchell, who sang the role of Eurydice, says that the project was born long before the bursting housing bubble almost toppled the global financial system.\u003c/p>\n\u003cp>In fact, it was George W. Bush’s reelection in 2004 and Mitchell’s wavering faith in the power of writing politically topical songs that set her on a path toward Greek mythology. The underworld, it turned out, was an ideal forum for unleashing her vision of a curdling American dream.\u003c/p>\n\u003cp>“Hades was a way to write about those things in an archetypical way, rather than tied to specific events,” says Mitchell, 34. “When the album was coming out and the recession hit, themes of poverty and desperation really came to the fore. Now we’re on the road to recovery and other parts of the music and imagery feel a little more relevant. It’s an ancient myth that continues to resonate in so many ways.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=fZoQSThtD6s?list=PLRYgn2qsiSwrwBl8dBi4M89CUQ8_xbKRk&w=640&h=360]\u003c/p>\n\u003cp>Mitchell presents a newly expanded version of the song cycle at Berkeley’s Freight & Salvage on June 28, working with album’s two key collaborators: arranger Michael Chorney, who plays acoustic guitar and prepared guitar, and bassist Todd Sickafoose, who produced the album and her acclaimed 2012 followup \u003cem>Young Man In America\u003c/em> (Wilderland Records). They’re joined by a stellar ensemble including violinist/vocalist Jenny Scheinman, cellist/vocalist Markia Hughes, trumpeter/vocalist Darren Johnston, accordionist Rob Reich, and drummer Eric Garland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several years before recording the album, Mitchell presented \u003cem>Hadestown\u003c/em> in Vermont as a traveling theatrical production with a \u003ca href=\"http://breadandpuppet.org/\" target=\"_blank\" rel=\"noopener\">Bread & Puppet Theater\u003c/a> aesthetic, with Chorney on hand. With virtually no funding or institutional support, they toured around New England twice over the course of two years.\u003c/p>\n\u003cp>“The album was a third draft of a thing that began in a DIY theatrical way, with myself and Michael and a band playing his arrangements,” Mitchell says. “We’d go to a particular town or state and recruit friends and strangers from the music community to sing the roles. We thought of it as a radio novella. I always wanted to see it go back to the theater, because of what can happen working with real actors.”\u003c/p>\n\u003cfigure id=\"attachment_10796912\" class=\"wp-caption alignright\" style=\"max-width: 295px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AnaisMitchellPolaroid2.jpg\" alt=\"Anaïs Mitchell \" width=\"295\" height=\"360\" class=\"size-full wp-image-10796912\">\u003cfigcaption class=\"wp-caption-text\">Anaïs Mitchell.\u003c/figcaption>\u003c/figure>\n\u003cp>What’s remarkable about the album is the way it evokes the piece’s theatricality, the sense of drama being played out in a physical space, rather than unfolding simply as a collection of songs connected by a narrative. Before he produced the album, Sickafoose joined Mitchell’s cast on the road, “and it was really instructive to be part of the theatricality of it from the beginning,” says Sickafoose (who performs with his own band Tiny Resistors on June 26 at the Red Poppy Art House).\u003c/p>\n\u003cp>“We tried to make the record have that feeling, having different people singing all the roles, and making sure there was space in the music so it didn’t just go one line to the next, one song to the next, setting scenes and including the kind of transitions you feel like you’re seeing. ‘Folk opera’ is a beautiful term. It feels like a good cloak to put on and say ‘this is what it is,’ and move around inside of that. It’s the first genre name I’ve ever liked.”\u003c/p>\n\u003cp>Mitchell got a chance to revisit the piece’s theatrical roots earlier this year via \u003ca href=\"http://newyorktheatreworkshop.org/\" target=\"_blank\" rel=\"noopener\">New York Theater Workshop\u003c/a>, the organization that first presented \u003cem>Rent\u003c/em> and \u003cem>Once\u003c/em>. Sunday’s matinee is another step in that process, as \u003ca href=\"http://www.berkeleyrep.org/groundfloor/\" target=\"_blank\" rel=\"noopener\">The Ground Floor\u003c/a>, Berkeley Rep’s center for the creation and development of new work, selected \u003cem>Hadestown\u003c/em> as one of 14 projects in its fourth Summer Residency Lab.\u003c/p>\n\u003cp>The Berkeley Rep has a long history of productions involving music, from Green Day’s \u003cem>American Idiot\u003c/em> to Stew and Heidi Rodewald’s \u003cem>Passing Strange\u003c/em>, and \u003cem>Hadestown \u003c/em>seemed ripe for a workshop.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We like things that seep across boundaries,” says Madeleine Oldham, Berkeley Rep’s resident dramaturg and director of The Ground Floor. “Anaïs’s work is perfect that way. She’s taking music and testing the waters of theater. She’s a multi-threat composer, songwriter, and lyricist with an inherently theatrical quality.”\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/anais-mitchells-hadestown/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Hadestown’\u003c/h2>\n\u003cdiv class=\"event-desc\">Anaïs Mitchell’s mythology-inspired folk opera.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 28, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Freight & Salvage\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/anais-mitchells-hadestown/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When singer/songwriter Anaïs Mitchell released her folk opera \u003cem>Hadestown\u003c/em> in 2009, the vivid reimagining of the Greek myth of the doomed lovers Orpheus and Eurydice clearly seemed inspired by the nation’s economic crisis.\u003c/p>\n\u003cp>Set in a Depression-era company town painted in the stark colors of a hard-boiled Dashiel Hammett dystopia, the album brought together an immoderately talented multi-generational cast of singers and instrumentalists, including Greg Brown (Hades), Ani DiFranco (Persephone), Bon Iver’s Justin Vernon (Orpheus), and Petra, Rachel and Tanya Haden (the Fates). But Mitchell, who sang the role of Eurydice, says that the project was born long before the bursting housing bubble almost toppled the global financial system.\u003c/p>\n\u003cp>In fact, it was George W. Bush’s reelection in 2004 and Mitchell’s wavering faith in the power of writing politically topical songs that set her on a path toward Greek mythology. The underworld, it turned out, was an ideal forum for unleashing her vision of a curdling American dream.\u003c/p>\n\u003cp>“Hades was a way to write about those things in an archetypical way, rather than tied to specific events,” says Mitchell, 34. “When the album was coming out and the recession hit, themes of poverty and desperation really came to the fore. Now we’re on the road to recovery and other parts of the music and imagery feel a little more relevant. It’s an ancient myth that continues to resonate in so many ways.”\u003c/p>\n\u003cp>\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/fZoQSThtD6s?list=PLRYgn2qsiSwrwBl8dBi4M89CUQ8_xbKRk'\n title='//www.youtube.com/embed/fZoQSThtD6s?list=PLRYgn2qsiSwrwBl8dBi4M89CUQ8_xbKRk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Mitchell presents a newly expanded version of the song cycle at Berkeley’s Freight & Salvage on June 28, working with album’s two key collaborators: arranger Michael Chorney, who plays acoustic guitar and prepared guitar, and bassist Todd Sickafoose, who produced the album and her acclaimed 2012 followup \u003cem>Young Man In America\u003c/em> (Wilderland Records). They’re joined by a stellar ensemble including violinist/vocalist Jenny Scheinman, cellist/vocalist Markia Hughes, trumpeter/vocalist Darren Johnston, accordionist Rob Reich, and drummer Eric Garland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several years before recording the album, Mitchell presented \u003cem>Hadestown\u003c/em> in Vermont as a traveling theatrical production with a \u003ca href=\"http://breadandpuppet.org/\" target=\"_blank\" rel=\"noopener\">Bread & Puppet Theater\u003c/a> aesthetic, with Chorney on hand. With virtually no funding or institutional support, they toured around New England twice over the course of two years.\u003c/p>\n\u003cp>“The album was a third draft of a thing that began in a DIY theatrical way, with myself and Michael and a band playing his arrangements,” Mitchell says. “We’d go to a particular town or state and recruit friends and strangers from the music community to sing the roles. We thought of it as a radio novella. I always wanted to see it go back to the theater, because of what can happen working with real actors.”\u003c/p>\n\u003cfigure id=\"attachment_10796912\" class=\"wp-caption alignright\" style=\"max-width: 295px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/AnaisMitchellPolaroid2.jpg\" alt=\"Anaïs Mitchell \" width=\"295\" height=\"360\" class=\"size-full wp-image-10796912\">\u003cfigcaption class=\"wp-caption-text\">Anaïs Mitchell.\u003c/figcaption>\u003c/figure>\n\u003cp>What’s remarkable about the album is the way it evokes the piece’s theatricality, the sense of drama being played out in a physical space, rather than unfolding simply as a collection of songs connected by a narrative. Before he produced the album, Sickafoose joined Mitchell’s cast on the road, “and it was really instructive to be part of the theatricality of it from the beginning,” says Sickafoose (who performs with his own band Tiny Resistors on June 26 at the Red Poppy Art House).\u003c/p>\n\u003cp>“We tried to make the record have that feeling, having different people singing all the roles, and making sure there was space in the music so it didn’t just go one line to the next, one song to the next, setting scenes and including the kind of transitions you feel like you’re seeing. ‘Folk opera’ is a beautiful term. It feels like a good cloak to put on and say ‘this is what it is,’ and move around inside of that. It’s the first genre name I’ve ever liked.”\u003c/p>\n\u003cp>Mitchell got a chance to revisit the piece’s theatrical roots earlier this year via \u003ca href=\"http://newyorktheatreworkshop.org/\" target=\"_blank\" rel=\"noopener\">New York Theater Workshop\u003c/a>, the organization that first presented \u003cem>Rent\u003c/em> and \u003cem>Once\u003c/em>. Sunday’s matinee is another step in that process, as \u003ca href=\"http://www.berkeleyrep.org/groundfloor/\" target=\"_blank\" rel=\"noopener\">The Ground Floor\u003c/a>, Berkeley Rep’s center for the creation and development of new work, selected \u003cem>Hadestown\u003c/em> as one of 14 projects in its fourth Summer Residency Lab.\u003c/p>\n\u003cp>The Berkeley Rep has a long history of productions involving music, from Green Day’s \u003cem>American Idiot\u003c/em> to Stew and Heidi Rodewald’s \u003cem>Passing Strange\u003c/em>, and \u003cem>Hadestown \u003c/em>seemed ripe for a workshop.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We like things that seep across boundaries,” says Madeleine Oldham, Berkeley Rep’s resident dramaturg and director of The Ground Floor. “Anaïs’s work is perfect that way. She’s taking music and testing the waters of theater. She’s a multi-threat composer, songwriter, and lyricist with an inherently theatrical quality.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stephen Witt came of age in a generation of thieves. The theft was so easy, so ubiquitous, that it didn’t even feel like stealing. It only felt like keeping up.\u003c/p>\n\u003cp>His story — our story, really — as told in \u003cem>How Music Got Free: The End of An Industry, The Turn of the Century and The Patient Zero of Piracy\u003c/em> is a scathing and hilarious one. What’s left but laughter? These horses have long since left the barn.\u003c/p>\n\u003cp>“I am a member of the pirate generation,” Witt writes. “I pirated on an industrial scale, but told no one… Most of the music I never actually listened to.”\u003c/p>\n\u003cp>Later, as a journalism student, he grew curious as to where all his ill-gotten gains came from. It’s a digital era, and we all leave tracks we cannot erase, so with an impressive sense of sleuthing, Witt tracked down the narrative of file-sharing. And for all the Napsters, the Universal Music Groups and Lars Ulrichs who dominated the headlines of the times, at the center of the story he found truly compelling characters who never made it above the fold, or even to the back pages.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/witt-how_music_got_free-400.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10763242\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/witt-how_music_got_free-400.jpg\" alt=\"witt-how_music_got_free-400\" width=\"231\" height=\"341\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of them was Karlheinz Brandenburg, who began as a grad student working for the Fraunhofer IIS and who eventually led the crew who created the MP3 file format. The marketing team at Phillips eviscerated his business model, and marginalized his superior product. Brandenburg was left to license his work wherever he could, even giving it away.\u003c/p>\n\u003cp>Witt’s “patient zero” was even more unprepossessing. Benny Lydell Glover started out as a temp working on the line at a CD manufacturing plant in Kings Mountain, North Carolina, living with his girlfriend in a trailer behind his parents’ house. As Witt writes, “his favorite musical genre was rap, his second favorite was country, and his lifestyle was a mash-up of the two.”\u003c/p>\n\u003cp>But Glover also had a love for computers. He got himself on the internet early, and found his way into chat rooms where teenagers with names like Kali had set up secret sharing sites with thousands of albums, video games, videos — anything that could be broken down into ones and zeros. Glover, willing to leak albums before their release from the CD manufacturing warehouse, proved to be an ongoing gold mine for the file-sharing sites. (\u003cem>The New Yorker\u003c/em> published Witt’s \u003ca href=\"http://www.newyorker.com/magazine/2015/04/27/the-man-who-broke-the-music-business\">article on Glover\u003c/a> in April.)\u003c/p>\n\u003cp>It doesn’t matter if you think you know what happened next, because Witt weaves a ripping yarn, from the tattered rags of the music industry to the world we know today. Brandenburg’s original impulse for creating the MP3 format was to create a “digital radio jukebox”; he had Spotify, Tidal, and Apple Music in his sights long before such streaming services became ubiquitous.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10763245\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan.jpeg\" alt=\"fraunhofer-mp3_front_cd-scan\" width=\"201\" height=\"192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan.jpeg 349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan-32x32.jpeg 32w\" sizes=\"(max-width: 201px) 100vw, 201px\">Not surprisingly, \u003ca href=\"http://www.ft.com/intl/cms/s/2/a354d97e-1022-11e5-ad5a-00144feabdc0.html#axzz3d5EfGj41\">Witt has some smart and not so happy news for those services as well\u003c/a>. With his combination of humor, insight and storytelling skill, he’s a must-see when he’s town, and especially if he decides to train that laser-like sensibility on \u003cem>your\u003c/em> business model. “Look upon \u003cem>your\u003c/em> works, ye mighty, and despair,” indeed.\u003c/p>\n\u003cp>I caught up with Stephen Witt via email to ask him about writing the book — and about the possibility of seeing it pirated online. (You can also listen to my \u003ca href=\"http://bookotron.com/agony/audio/2015/2015-interviews/stephen_witt-2015.mp3\" target=\"_blank\" rel=\"noopener\">audio interview with Witt here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Your book describes a collision of technical and social visionaries, none of whom had great social skills. How did you go about researching and interviewing players who had trouble expressing themselves?\u003c/strong>\u003c/p>\n\u003cp>I had to re-draft the portions explaining the origins of the mp3 many times. The German engineers in particular were difficult; they all spoke perfect English, but they used very technical language, and objected to any imprecision in description. Fortunately, I had taped many of these interviews, so I could play them back as needed. With time, I was able to simplify the story to three points: 1) that the mp3 worked by taking advantage of inherent flaws in the human ear, 2) that inventor Karlheinz Brandenburg really was the key intellectual force behind the thing, despite his modest attempts to deflect credit, and 3) that it was an almost total commercial failure, until the pirates got their hands on it!\u003c/p>\n\u003cp>\u003cstrong>We’re accustomed to stories where “Follow the money” provides an easy through line for “solving the crime” or unraveling the nefarious netherworld. Was that the case with this story, and if not, how did you unearth the unconnected and determine how one life touched another?\u003c/strong>\u003c/p>\n\u003cp>In this case, the FBI had done a lot of the work already. I pulled the files on nearly 100 piracy prosecutions in the course of writing this book; I also was able to obtain access to some of the FBI’s internal memoranda, via the Freedom of Information Act. The other thing that really helped was the pirate’s own bureaucracy! For a shadowy network of digital outlaws, they kept very good records. There’s a number of hobbyists who now work to archive and preserve this stuff.\u003c/p>\n\u003cp>\u003cstrong>The initial intention of the inventors of the MP3 is only now being realized as so-called streaming services come online. Have the creators of these services researched what happened and how in order to foresee future potential perversions of their intent that may bring about their demise?\u003c/strong>\u003c/p>\n\u003cp>Streaming presents an elegant solution to the problem of piracy-in fact, it was Brandenburg’s original purpose in creating the mp3. Since the streams originate from centralized servers, under corporate oversight, it’s much easier to police their content. Of course, pirate streamers exist too, as many people who watched the recent Mayweather-Pacquiao fight know. But it’s harder for them to reach scale.\u003c/p>\n\u003cp>\u003cstrong>Has your experience researching and writing the book brought you to believe that there is a means of policing music and other digital entertainment? Coming back to its origins, is the solution technical, social or impossible?\u003c/strong>\u003c/p>\n\u003cp>The solution is technically possible; we’re watching it unfold right now. Decisions made in the early days of the Internet gave the average user a tremendous amount of power. The IRC underground where digital piracy originated was a home-brew affair-average people sharing information without oversight. That enabled a lot of wonderful things, but it was terrible for rightsholders. So, for a long time, technology and copyright were in opposition; I’d say, though, starting around 2007 or 2008, there was a shift.\u003c/p>\n\u003cp>Now, the interests of rightsholders and technologists are aligned, and the goal is not to empower the user, but to extract value from them. Today, most Internet content is hosted in corporate libraries, with robots scanning uploaded files in search of infringing content-both Youtube and Soundcloud have such systems. Megaupload, by contrast, refused to police its users’ activity; now its founder Kim Dotcom is facing jail time.\u003c/p>\n\u003cp>\u003cstrong>Have you considered posting your book online? If it were to happen, how would you feel?\u003c/strong>\u003c/p>\n\u003cp>I won’t do it myself, but there’s already a large number of requests for it in the torrent underground. I suspect it will be available within minutes of the e-book going on sale. I’m cool with that.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Stephen Witt appears at \u003ca href=\"http://www.townecenterbooks.com/townecenternews.html\">Towne Center Books in Pleasanton\u003c/a> on June 19 at 7pm, and at \u003ca href=\"http://www.bookpassage.com/event/stephen-witt-how-music-got-free\">Book Passage in the Ferry Building\u003c/a> on June 20 at 12:30pm.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stephen Witt came of age in a generation of thieves. The theft was so easy, so ubiquitous, that it didn’t even feel like stealing. It only felt like keeping up.\u003c/p>\n\u003cp>His story — our story, really — as told in \u003cem>How Music Got Free: The End of An Industry, The Turn of the Century and The Patient Zero of Piracy\u003c/em> is a scathing and hilarious one. What’s left but laughter? These horses have long since left the barn.\u003c/p>\n\u003cp>“I am a member of the pirate generation,” Witt writes. “I pirated on an industrial scale, but told no one… Most of the music I never actually listened to.”\u003c/p>\n\u003cp>Later, as a journalism student, he grew curious as to where all his ill-gotten gains came from. It’s a digital era, and we all leave tracks we cannot erase, so with an impressive sense of sleuthing, Witt tracked down the narrative of file-sharing. And for all the Napsters, the Universal Music Groups and Lars Ulrichs who dominated the headlines of the times, at the center of the story he found truly compelling characters who never made it above the fold, or even to the back pages.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/witt-how_music_got_free-400.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10763242\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/witt-how_music_got_free-400.jpg\" alt=\"witt-how_music_got_free-400\" width=\"231\" height=\"341\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of them was Karlheinz Brandenburg, who began as a grad student working for the Fraunhofer IIS and who eventually led the crew who created the MP3 file format. The marketing team at Phillips eviscerated his business model, and marginalized his superior product. Brandenburg was left to license his work wherever he could, even giving it away.\u003c/p>\n\u003cp>Witt’s “patient zero” was even more unprepossessing. Benny Lydell Glover started out as a temp working on the line at a CD manufacturing plant in Kings Mountain, North Carolina, living with his girlfriend in a trailer behind his parents’ house. As Witt writes, “his favorite musical genre was rap, his second favorite was country, and his lifestyle was a mash-up of the two.”\u003c/p>\n\u003cp>But Glover also had a love for computers. He got himself on the internet early, and found his way into chat rooms where teenagers with names like Kali had set up secret sharing sites with thousands of albums, video games, videos — anything that could be broken down into ones and zeros. Glover, willing to leak albums before their release from the CD manufacturing warehouse, proved to be an ongoing gold mine for the file-sharing sites. (\u003cem>The New Yorker\u003c/em> published Witt’s \u003ca href=\"http://www.newyorker.com/magazine/2015/04/27/the-man-who-broke-the-music-business\">article on Glover\u003c/a> in April.)\u003c/p>\n\u003cp>It doesn’t matter if you think you know what happened next, because Witt weaves a ripping yarn, from the tattered rags of the music industry to the world we know today. Brandenburg’s original impulse for creating the MP3 format was to create a “digital radio jukebox”; he had Spotify, Tidal, and Apple Music in his sights long before such streaming services became ubiquitous.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10763245\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan.jpeg\" alt=\"fraunhofer-mp3_front_cd-scan\" width=\"201\" height=\"192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan.jpeg 349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan-32x32.jpeg 32w\" sizes=\"(max-width: 201px) 100vw, 201px\">Not surprisingly, \u003ca href=\"http://www.ft.com/intl/cms/s/2/a354d97e-1022-11e5-ad5a-00144feabdc0.html#axzz3d5EfGj41\">Witt has some smart and not so happy news for those services as well\u003c/a>. With his combination of humor, insight and storytelling skill, he’s a must-see when he’s town, and especially if he decides to train that laser-like sensibility on \u003cem>your\u003c/em> business model. “Look upon \u003cem>your\u003c/em> works, ye mighty, and despair,” indeed.\u003c/p>\n\u003cp>I caught up with Stephen Witt via email to ask him about writing the book — and about the possibility of seeing it pirated online. (You can also listen to my \u003ca href=\"http://bookotron.com/agony/audio/2015/2015-interviews/stephen_witt-2015.mp3\" target=\"_blank\" rel=\"noopener\">audio interview with Witt here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Your book describes a collision of technical and social visionaries, none of whom had great social skills. How did you go about researching and interviewing players who had trouble expressing themselves?\u003c/strong>\u003c/p>\n\u003cp>I had to re-draft the portions explaining the origins of the mp3 many times. The German engineers in particular were difficult; they all spoke perfect English, but they used very technical language, and objected to any imprecision in description. Fortunately, I had taped many of these interviews, so I could play them back as needed. With time, I was able to simplify the story to three points: 1) that the mp3 worked by taking advantage of inherent flaws in the human ear, 2) that inventor Karlheinz Brandenburg really was the key intellectual force behind the thing, despite his modest attempts to deflect credit, and 3) that it was an almost total commercial failure, until the pirates got their hands on it!\u003c/p>\n\u003cp>\u003cstrong>We’re accustomed to stories where “Follow the money” provides an easy through line for “solving the crime” or unraveling the nefarious netherworld. Was that the case with this story, and if not, how did you unearth the unconnected and determine how one life touched another?\u003c/strong>\u003c/p>\n\u003cp>In this case, the FBI had done a lot of the work already. I pulled the files on nearly 100 piracy prosecutions in the course of writing this book; I also was able to obtain access to some of the FBI’s internal memoranda, via the Freedom of Information Act. The other thing that really helped was the pirate’s own bureaucracy! For a shadowy network of digital outlaws, they kept very good records. There’s a number of hobbyists who now work to archive and preserve this stuff.\u003c/p>\n\u003cp>\u003cstrong>The initial intention of the inventors of the MP3 is only now being realized as so-called streaming services come online. Have the creators of these services researched what happened and how in order to foresee future potential perversions of their intent that may bring about their demise?\u003c/strong>\u003c/p>\n\u003cp>Streaming presents an elegant solution to the problem of piracy-in fact, it was Brandenburg’s original purpose in creating the mp3. Since the streams originate from centralized servers, under corporate oversight, it’s much easier to police their content. Of course, pirate streamers exist too, as many people who watched the recent Mayweather-Pacquiao fight know. But it’s harder for them to reach scale.\u003c/p>\n\u003cp>\u003cstrong>Has your experience researching and writing the book brought you to believe that there is a means of policing music and other digital entertainment? Coming back to its origins, is the solution technical, social or impossible?\u003c/strong>\u003c/p>\n\u003cp>The solution is technically possible; we’re watching it unfold right now. Decisions made in the early days of the Internet gave the average user a tremendous amount of power. The IRC underground where digital piracy originated was a home-brew affair-average people sharing information without oversight. That enabled a lot of wonderful things, but it was terrible for rightsholders. So, for a long time, technology and copyright were in opposition; I’d say, though, starting around 2007 or 2008, there was a shift.\u003c/p>\n\u003cp>Now, the interests of rightsholders and technologists are aligned, and the goal is not to empower the user, but to extract value from them. Today, most Internet content is hosted in corporate libraries, with robots scanning uploaded files in search of infringing content-both Youtube and Soundcloud have such systems. Megaupload, by contrast, refused to police its users’ activity; now its founder Kim Dotcom is facing jail time.\u003c/p>\n\u003cp>\u003cstrong>Have you considered posting your book online? If it were to happen, how would you feel?\u003c/strong>\u003c/p>\n\u003cp>I won’t do it myself, but there’s already a large number of requests for it in the torrent underground. I suspect it will be available within minutes of the e-book going on sale. I’m cool with that.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Stephen Witt appears at \u003ca href=\"http://www.townecenterbooks.com/townecenternews.html\">Towne Center Books in Pleasanton\u003c/a> on June 19 at 7pm, and at \u003ca href=\"http://www.bookpassage.com/event/stephen-witt-how-music-got-free\">Book Passage in the Ferry Building\u003c/a> on June 20 at 12:30pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As spring gives way to summer and the days grow warmer and longer, thousands around the Bay Area will be gearing up for Gay Pride and tons of other opportunities to celebrate our outrageous, lovely and creative queer community. From trans women of color sharing hilarious tales, to queer men and women telling stories of migration from the Dirty South through performance art; there is no shortage of accessible, engaging events to check out. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>This list of such events, however, is certainly not comprehensive, but serves as a highlight of who, where and what folks should experience this June. Many of the events listed here are free or affordable, and I’d be shocked if anyone was turned away for lack of funds. Also, most of them provide scent-free seating areas, language interpretation and the best of what our queer community has to offer.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg\" alt=\" Miho Aida's “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miho Aida’s “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>11\u003csup>th\u003c/sup> Annual Queer Women of Color Film Festival\u003c/h3>\n\u003ch5>June 12-14\u003cbr>\nQueer Women of Color Media Arts Project\u003cbr>\n\u003ca href=\"http://www.qwocmap.org/festival/film-festival/schedule/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most anticipated Bay Area film events is the 11th annual Queer Women of Color Film Festival in San Francisco. For three days, audiences will have access to documentary films covering a variety of topics ranging from interracial coupling, body love, immigration and everything in between. The festival also features comedies, dramas, experimental film and more. With a total of 39 flicks, the festival is the best deal in the Bay as it’s completely free!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735899\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg\" alt=\"Gary Edjukated Rebel Brice performs at "Y'all Come Back: Stories of Queer Southern Migration"\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-400x503.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg 480w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gary Edjukated Rebel Brice performs at “Y’all Come Back: Stories of Queer Southern Migration”\u003c/figcaption>\u003c/figure>\n\u003ch3>Y’all Come Back: Stories of Queer Southern Migration \u003c/h3>\n\u003ch5>June 13\u003cbr>\nSan Francisco LGBT Community Center\u003cbr>\n\u003ca href=\"http://www.yallcomebackshow.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>There is an assumption that the South is full of scary, right-wing bible thumpers, but if you think about it, not all of the queer community in San Francisco were born near The Bay. Y’all Come Back: Stories of Queer Southern Migration hopes to expose the rest of us to the “real queer” South through a visual art show (June 1- July 17) and two performances on June 13. Also, the event is not just tales of getting out but includes stories of queers heading to the South as well. It is sure to be an educational experience for all.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg\" alt=\"Black Don't Crack flyer\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10741363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Black Don’t Crack flyer\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Don’t Crack \u003c/h3>\n\u003ch5>June 18\u003cbr>\nAfrican American Art & Culture Complex\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/816222501792567/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Congregation of Liberation composed an interdisciplinary musical theater production that uses humor and drama to shed some positive light on the alliances between marginalized communities of color and the queer community. The performance serves as a healing tool as well as an act of resistance against racism and homophobia, using art as a path to collective liberation and community building.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10736036\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10736036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-800x533.jpg\" alt=\"Jackie Wang reads at RADAR Production's #QueerFail Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jackie Wang reads at RADAR Production’s #QueerFail Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>RADAR Productions #QUEERFAIL Festival \u003c/h3>\n\u003ch5>June 15-21\u003cbr>\nVarious locations in San Francisco\u003cbr>\n\u003ca href=\"http://www.radarproductions.org/reading-series/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If the literary arts are your cup of tea, you won’t want to miss this fabulous Queer Fail series in June. Themed around “queer failure,” or as RADAR puts it, “the unique history of queer anti-assimilation and also just straight-up FAILURE to be polite, to be a tool, to be on time,” the festival offers a series of readings. The June 17 \u003ca href=\"https://www.facebook.com/events/1071305416216886/\" target=\"_blank\" rel=\"noopener\">Superstar\u003c/a> event features Jackie Wang, Maggie Nelson, CAConrad and Christopher Soto (aka Loma). Other events feature Sarah Fontaine, Lovewarz, Baruch Porras-Hernandez, Brontez Purnell, Cooper Lee Bombardier, Manish Vaidya, Cate White and more!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741365\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg\" alt=\"Example from <i>Stories of the Spectrum</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10741365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41.jpeg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Example from \u003ci>Stories of the Spectrum\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stories of the Spectrum Photo Exhibit\u003c/h3>\n\u003ch5>June 22 reception (exhibit runs June 1 – July 17)\u003cbr>\nLGBT Community Center\u003cbr>\n\u003ca href=\"http://www.sfcenter.org/programs/gallery-shows/stories-spectrum-photo-exhibit\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>While the “coming out” story of Caitlyn Jenner has been inspiring, it is certainly not representative of many trans people’s experiences. An upcoming exhibit in San Francisco offers a peak at some of the varied experience local youth have in the Bay Area. The Chinese Progressive Association and the Queer Cultural Center hosts \u003cem>Stories of the Spectrum\u003c/em>, a photography exhibit which documents queer and gender non-conforming people of color and their allies in the Bay Area at San Francisco’s LGBT Community center. The youth-led project defies stereotypes and is free of charge.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As spring gives way to summer and the days grow warmer and longer, thousands around the Bay Area will be gearing up for Gay Pride and tons of other opportunities to celebrate our outrageous, lovely and creative queer community. From trans women of color sharing hilarious tales, to queer men and women telling stories of migration from the Dirty South through performance art; there is no shortage of accessible, engaging events to check out. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>This list of such events, however, is certainly not comprehensive, but serves as a highlight of who, where and what folks should experience this June. Many of the events listed here are free or affordable, and I’d be shocked if anyone was turned away for lack of funds. Also, most of them provide scent-free seating areas, language interpretation and the best of what our queer community has to offer.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg\" alt=\" Miho Aida's “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miho Aida’s “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>11\u003csup>th\u003c/sup> Annual Queer Women of Color Film Festival\u003c/h3>\n\u003ch5>June 12-14\u003cbr>\nQueer Women of Color Media Arts Project\u003cbr>\n\u003ca href=\"http://www.qwocmap.org/festival/film-festival/schedule/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most anticipated Bay Area film events is the 11th annual Queer Women of Color Film Festival in San Francisco. For three days, audiences will have access to documentary films covering a variety of topics ranging from interracial coupling, body love, immigration and everything in between. The festival also features comedies, dramas, experimental film and more. With a total of 39 flicks, the festival is the best deal in the Bay as it’s completely free!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735899\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg\" alt=\"Gary Edjukated Rebel Brice performs at "Y'all Come Back: Stories of Queer Southern Migration"\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-400x503.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg 480w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gary Edjukated Rebel Brice performs at “Y’all Come Back: Stories of Queer Southern Migration”\u003c/figcaption>\u003c/figure>\n\u003ch3>Y’all Come Back: Stories of Queer Southern Migration \u003c/h3>\n\u003ch5>June 13\u003cbr>\nSan Francisco LGBT Community Center\u003cbr>\n\u003ca href=\"http://www.yallcomebackshow.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>There is an assumption that the South is full of scary, right-wing bible thumpers, but if you think about it, not all of the queer community in San Francisco were born near The Bay. Y’all Come Back: Stories of Queer Southern Migration hopes to expose the rest of us to the “real queer” South through a visual art show (June 1- July 17) and two performances on June 13. Also, the event is not just tales of getting out but includes stories of queers heading to the South as well. It is sure to be an educational experience for all.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg\" alt=\"Black Don't Crack flyer\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10741363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Black Don’t Crack flyer\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Don’t Crack \u003c/h3>\n\u003ch5>June 18\u003cbr>\nAfrican American Art & Culture Complex\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/816222501792567/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Congregation of Liberation composed an interdisciplinary musical theater production that uses humor and drama to shed some positive light on the alliances between marginalized communities of color and the queer community. The performance serves as a healing tool as well as an act of resistance against racism and homophobia, using art as a path to collective liberation and community building.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10736036\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10736036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-800x533.jpg\" alt=\"Jackie Wang reads at RADAR Production's #QueerFail Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jackie Wang reads at RADAR Production’s #QueerFail Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>RADAR Productions #QUEERFAIL Festival \u003c/h3>\n\u003ch5>June 15-21\u003cbr>\nVarious locations in San Francisco\u003cbr>\n\u003ca href=\"http://www.radarproductions.org/reading-series/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If the literary arts are your cup of tea, you won’t want to miss this fabulous Queer Fail series in June. Themed around “queer failure,” or as RADAR puts it, “the unique history of queer anti-assimilation and also just straight-up FAILURE to be polite, to be a tool, to be on time,” the festival offers a series of readings. The June 17 \u003ca href=\"https://www.facebook.com/events/1071305416216886/\" target=\"_blank\" rel=\"noopener\">Superstar\u003c/a> event features Jackie Wang, Maggie Nelson, CAConrad and Christopher Soto (aka Loma). Other events feature Sarah Fontaine, Lovewarz, Baruch Porras-Hernandez, Brontez Purnell, Cooper Lee Bombardier, Manish Vaidya, Cate White and more!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741365\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg\" alt=\"Example from <i>Stories of the Spectrum</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10741365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41.jpeg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Example from \u003ci>Stories of the Spectrum\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stories of the Spectrum Photo Exhibit\u003c/h3>\n\u003ch5>June 22 reception (exhibit runs June 1 – July 17)\u003cbr>\nLGBT Community Center\u003cbr>\n\u003ca href=\"http://www.sfcenter.org/programs/gallery-shows/stories-spectrum-photo-exhibit\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>While the “coming out” story of Caitlyn Jenner has been inspiring, it is certainly not representative of many trans people’s experiences. An upcoming exhibit in San Francisco offers a peak at some of the varied experience local youth have in the Bay Area. The Chinese Progressive Association and the Queer Cultural Center hosts \u003cem>Stories of the Spectrum\u003c/em>, a photography exhibit which documents queer and gender non-conforming people of color and their allies in the Bay Area at San Francisco’s LGBT Community center. The youth-led project defies stereotypes and is free of charge.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "An Expert's Guide to the 2015 National Queer Arts Festival",
"headTitle": "An Expert’s Guide to the 2015 National Queer Arts Festival | KQED",
"content": "\u003cp>Now in its 18th year, the \u003ca href=\"http://qcc2.org/nqaf-2015/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>National Queer Arts Festival\u003c/strong>\u003c/a> (NQAF) takes over San Francisco every June with such an energetic schedule, there’s something to do every day of the month. The programming spans visual art exhibitions, film screenings and multidisciplinary performances. Produced by the \u003ca href=\"http://qcc2.org/\" target=\"_blank\" rel=\"noopener\">Queer Cultural Center\u003c/a> (QCC), this festival dedicated to presenting the work of culturally diverse queer artists is the largest of its kind in the country.\u003c/p>\n\u003cp>Pamela Peniston, QCC’s Artistic Director, shared “not to be missed” highlights from this year’s festival with KQED. “Our biggest change is our break into Oakland,” Peniston said in an interview, a decision spearheaded by QCC Community Engagement Coordinator Manish Vaidya.\u003c/p>\n\u003cfigure id=\"attachment_10742730\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742730\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/brouhaha-logo.jpg\" alt=\"<i>Brouhaha: Trans Women of Color Comedy Storytelling</i>. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brouhaha-logo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brouhaha-logo-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Brouhaha: Trans Women of Color Comedy Storytelling\u003c/i>. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>But the festival also marks several other firsts this year. \u003cem>\u003ca href=\"http://qcc2.org/brouhaha-2/\" target=\"_blank\" rel=\"noopener\">Brouhaha: Trans Women of Color Comedy Storytelling\u003c/a>\u003c/em> is the first ever trans women of color comedy show. “We had a preview of the routines at April at SOMArt’s \u003ca href=\"http://www.somarts.org/programs/thenews/\">The News\u003c/a>, and I can tell you, it’s going to be an outrageously spectacular event,” says Peniston. “We even received a note from Janet Mock commending us on our work.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://qcc2.org/brouhaha-2/\" target=\"_blank\" rel=\"noopener\">Brouhaha: Trans Women of Color Comedy Storytelling\u003c/a>\u003c/em> has two performances on Jun. 9, 2015 at the \u003ca href=\"http://oacc.cc/\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>. (Tickets for the 7pm show are sold out, but the 9pm show still has seats.)\u003c/p>\n\u003cfigure id=\"attachment_10742732\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742732\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2.jpg\" alt=\"Cristina Mitra and Natalia Vigil of <i>Still Here</i>. (Photo by Lydia Daniller)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cristina Mitra and Natalia Vigil of \u003ci>Still Here\u003c/i>. (Photo by Lydia Daniller)\u003c/figcaption>\u003c/figure>\n\u003cp>Another notable change this year is to the annual NQAF feature \u003ca href=\"http://qcc2.org/still-here-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>Still Here\u003c/em>\u003c/a>. In its third year, this program focuses on the experiences of the LBGT generation growing up during the 1980s and ’90s. “Previously, this program only featured readings by people who were coming out at the tail end of the AIDS epidemic. With the exception of the drag queen house systems, most of us who were adults during that time didn’t notice the younger generation coming up, since we were in crisis mode. QCC created the program to present what the AIDS epidemic looked like from the point of view of younger people,” says Peniston.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“However, this year \u003cem>Still Here\u003c/em> expanded to be intergenerational, guided by curators Cristina Mitra and Natalia Vigil. We have people who are now in their thirties with people in their sixties and seventies telling stories together. They give both visions of what this epidemic looked like from straight ahead and from underneath.”\u003c/p>\n\u003cp>\u003ca href=\"http://qcc2.org/still-here-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>Still Here\u003c/em>\u003c/a> takes place on Jun. 10 and 11, 2015 at 7pm at the \u003ca href=\"http://www.sfcenter.org/\">SF LGBT Community Center \u003c/a>in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10742731\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY.jpg\" alt=\"Y’all Come Back: Stories of Queer Southern Migration. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Y’all Come Back: Stories of Queer Southern Migration\u003c/i>. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>NQAF doesn’t focus only on Bay Area residents, this year including \u003ca href=\"http://qcc2.org/yall-come-back/\" target=\"_blank\" rel=\"noopener\">\u003cem>Y’all Come Back: Stories of Queer Southern Migration\u003c/em>\u003c/a>. Two performances on Jun. 13 and a visual art exhibition revolve around artists who have migrated to or from the South. “The art is outrageously good, and the performances are going to be astounding,” says Peniston.\u003c/p>\n\u003cp>\u003ca href=\"http://qcc2.org/yall-come-back/\" target=\"_blank\" rel=\"noopener\">\u003cem>Y’all Come Back: Stories of Queer Southern Migration\u003c/em>\u003c/a> hosts performances on Jun. 13, 2015 at 3pm and 7pm at the \u003ca href=\"http://www.sfcenter.org/\" target=\"_blank\" rel=\"noopener\">San Francisco LGBT Community Center\u003c/a>. The exhibition runs through Jul. 17, 2015.\u003c/p>\n\u003cfigure id=\"attachment_10742733\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742733\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mangos09.jpg\" alt=\"Mangos With Chili co-directors Leah Lakshmi Piepzna-Samarasinha and Cherry Galette. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mangos09.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mangos09-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mangos With Chili co-directors Leah Lakshmi Piepzna-Samarasinha and Cherry Galette. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to all these “firsts,” this year’s festival includes a “last” — the last performance from local arts organization \u003ca href=\"http://mangoswithchili.com/\" target=\"_blank\" rel=\"noopener\">Mangos With Chili\u003c/a>. Peniston muses, “All organizations have a life-cycle. Mangos With Chili was founded by two pivotal artists, Cherry Galette and Leah Lakshmi Piepzna-Samarasinha, who have done extraordinary things. They brought us — and not just QCC, but the entire queer community — so many fresh, new voices and artists. They left the landscape a more vibrant arts community. That’s the kind of legacy one hopes to leave behind.” The founders \u003ca href=\"http://mangoswithchili.com/2015/05/14/all-that-you-touch-you-change-a-note-on-our-wind-down/\" target=\"_blank\" rel=\"noopener\">announced the closure\u003c/a> on May 14, 2015, citing housing displacement due to gentrification in Oakland as one of the reasons impacting the decision.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://qcc2.org/mangos-with-chili/\" target=\"_blank\" rel=\"noopener\">All That You Touch You Change: Mangos With Chili’s Final Bow\u003c/a>\u003c/i> takes place on Jun. 25, 2015 at 7:30pm at the \u003ca href=\"http://www.aaacc.org/index.html\">African American Art and Culture Complex\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The National Queer Arts Festival\u003c/strong> runs through June 30, 2015 at multiple venues in San Francisco and Oakland. For \u003ca href=\"http://qcc2.org/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit qcc2.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 18th year, the \u003ca href=\"http://qcc2.org/nqaf-2015/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>National Queer Arts Festival\u003c/strong>\u003c/a> (NQAF) takes over San Francisco every June with such an energetic schedule, there’s something to do every day of the month. The programming spans visual art exhibitions, film screenings and multidisciplinary performances. Produced by the \u003ca href=\"http://qcc2.org/\" target=\"_blank\" rel=\"noopener\">Queer Cultural Center\u003c/a> (QCC), this festival dedicated to presenting the work of culturally diverse queer artists is the largest of its kind in the country.\u003c/p>\n\u003cp>Pamela Peniston, QCC’s Artistic Director, shared “not to be missed” highlights from this year’s festival with KQED. “Our biggest change is our break into Oakland,” Peniston said in an interview, a decision spearheaded by QCC Community Engagement Coordinator Manish Vaidya.\u003c/p>\n\u003cfigure id=\"attachment_10742730\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742730\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/brouhaha-logo.jpg\" alt=\"<i>Brouhaha: Trans Women of Color Comedy Storytelling</i>. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brouhaha-logo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brouhaha-logo-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Brouhaha: Trans Women of Color Comedy Storytelling\u003c/i>. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>But the festival also marks several other firsts this year. \u003cem>\u003ca href=\"http://qcc2.org/brouhaha-2/\" target=\"_blank\" rel=\"noopener\">Brouhaha: Trans Women of Color Comedy Storytelling\u003c/a>\u003c/em> is the first ever trans women of color comedy show. “We had a preview of the routines at April at SOMArt’s \u003ca href=\"http://www.somarts.org/programs/thenews/\">The News\u003c/a>, and I can tell you, it’s going to be an outrageously spectacular event,” says Peniston. “We even received a note from Janet Mock commending us on our work.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://qcc2.org/brouhaha-2/\" target=\"_blank\" rel=\"noopener\">Brouhaha: Trans Women of Color Comedy Storytelling\u003c/a>\u003c/em> has two performances on Jun. 9, 2015 at the \u003ca href=\"http://oacc.cc/\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>. (Tickets for the 7pm show are sold out, but the 9pm show still has seats.)\u003c/p>\n\u003cfigure id=\"attachment_10742732\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742732\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2.jpg\" alt=\"Cristina Mitra and Natalia Vigil of <i>Still Here</i>. (Photo by Lydia Daniller)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cristina Mitra and Natalia Vigil of \u003ci>Still Here\u003c/i>. (Photo by Lydia Daniller)\u003c/figcaption>\u003c/figure>\n\u003cp>Another notable change this year is to the annual NQAF feature \u003ca href=\"http://qcc2.org/still-here-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>Still Here\u003c/em>\u003c/a>. In its third year, this program focuses on the experiences of the LBGT generation growing up during the 1980s and ’90s. “Previously, this program only featured readings by people who were coming out at the tail end of the AIDS epidemic. With the exception of the drag queen house systems, most of us who were adults during that time didn’t notice the younger generation coming up, since we were in crisis mode. QCC created the program to present what the AIDS epidemic looked like from the point of view of younger people,” says Peniston.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“However, this year \u003cem>Still Here\u003c/em> expanded to be intergenerational, guided by curators Cristina Mitra and Natalia Vigil. We have people who are now in their thirties with people in their sixties and seventies telling stories together. They give both visions of what this epidemic looked like from straight ahead and from underneath.”\u003c/p>\n\u003cp>\u003ca href=\"http://qcc2.org/still-here-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>Still Here\u003c/em>\u003c/a> takes place on Jun. 10 and 11, 2015 at 7pm at the \u003ca href=\"http://www.sfcenter.org/\">SF LGBT Community Center \u003c/a>in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10742731\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY.jpg\" alt=\"Y’all Come Back: Stories of Queer Southern Migration. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Y’all Come Back: Stories of Queer Southern Migration\u003c/i>. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>NQAF doesn’t focus only on Bay Area residents, this year including \u003ca href=\"http://qcc2.org/yall-come-back/\" target=\"_blank\" rel=\"noopener\">\u003cem>Y’all Come Back: Stories of Queer Southern Migration\u003c/em>\u003c/a>. Two performances on Jun. 13 and a visual art exhibition revolve around artists who have migrated to or from the South. “The art is outrageously good, and the performances are going to be astounding,” says Peniston.\u003c/p>\n\u003cp>\u003ca href=\"http://qcc2.org/yall-come-back/\" target=\"_blank\" rel=\"noopener\">\u003cem>Y’all Come Back: Stories of Queer Southern Migration\u003c/em>\u003c/a> hosts performances on Jun. 13, 2015 at 3pm and 7pm at the \u003ca href=\"http://www.sfcenter.org/\" target=\"_blank\" rel=\"noopener\">San Francisco LGBT Community Center\u003c/a>. The exhibition runs through Jul. 17, 2015.\u003c/p>\n\u003cfigure id=\"attachment_10742733\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742733\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mangos09.jpg\" alt=\"Mangos With Chili co-directors Leah Lakshmi Piepzna-Samarasinha and Cherry Galette. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mangos09.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mangos09-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mangos With Chili co-directors Leah Lakshmi Piepzna-Samarasinha and Cherry Galette. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to all these “firsts,” this year’s festival includes a “last” — the last performance from local arts organization \u003ca href=\"http://mangoswithchili.com/\" target=\"_blank\" rel=\"noopener\">Mangos With Chili\u003c/a>. Peniston muses, “All organizations have a life-cycle. Mangos With Chili was founded by two pivotal artists, Cherry Galette and Leah Lakshmi Piepzna-Samarasinha, who have done extraordinary things. They brought us — and not just QCC, but the entire queer community — so many fresh, new voices and artists. They left the landscape a more vibrant arts community. That’s the kind of legacy one hopes to leave behind.” The founders \u003ca href=\"http://mangoswithchili.com/2015/05/14/all-that-you-touch-you-change-a-note-on-our-wind-down/\" target=\"_blank\" rel=\"noopener\">announced the closure\u003c/a> on May 14, 2015, citing housing displacement due to gentrification in Oakland as one of the reasons impacting the decision.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://qcc2.org/mangos-with-chili/\" target=\"_blank\" rel=\"noopener\">All That You Touch You Change: Mangos With Chili’s Final Bow\u003c/a>\u003c/i> takes place on Jun. 25, 2015 at 7:30pm at the \u003ca href=\"http://www.aaacc.org/index.html\">African American Art and Culture Complex\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The National Queer Arts Festival\u003c/strong> runs through June 30, 2015 at multiple venues in San Francisco and Oakland. For \u003ca href=\"http://qcc2.org/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit qcc2.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nine Plays You Shouldn't Miss this Summer",
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"headTitle": "Nine Plays You Shouldn’t Miss this Summer | KQED",
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"content": "\u003cp>There’s a ton of hot plays going on this summer, so grab a Slurpee and head down to your nearest performing arts space to catch the heat from one of the nine theater events in our summer theater guide.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653884\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg\" alt=\"Playwright Caryl Churchill. (Photo: Courtesy of American Conservatory Theater)\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo-799x600.jpg 799w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Caryl Churchill. (Photo by Courtesy of American Conservatory Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Love and Information\u003c/em>\u003c/h3>\n\u003ch5>June 3–August 9\u003cbr>\nAmerican Conservatory Theater (Strand Theater, 1127 Market Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/mainstage/love_and_information.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>After three years of anticipation, ACT has reopened the former grungy movie theater known as the Strand as an elegant, live-performance arts space. The company is breaking in its new venue with the West Coast premiere of another challenging work by one of the greatest living playwrights, Caryl Churchill. \u003cem>Love and Information\u003c/em> is a fast-paced series of 57 vignettes ranging from five seconds to five minutes apiece. They feature 140 characters in conversations touching on the tension between privacy and easy access to information in our technological age.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653878\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-CA.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653878\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-CA-787x1180.jpg\" alt=\"Bahni Tupin stars in California: The Tempest. (Photo: Megan Wanlass)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bahni Tupin stars in \u003ci>California: The Tempest.\u003c/i> (Photo by Megan Wanlass)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>California: The Tempest\u003c/em>\u003c/h3>\n\u003ch5>June 4–6\u003cbr>\nCornerstone Theater Company (Z Space, 450 Florida Street, San Francisco)\u003cbr>\n\u003ca href=\"http://zspace.org/new-work/california-the-tempest\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Los Angeles’ Cornerstone Theater Company specializes in community-based theater in which the artists embed themselves in a particular population and talk to locals about their challenges and concerns. They then use this information to create new plays representing people whose voices aren’t often heard on stage. \u003cem>California: The Tempest\u003c/em> is an epic project that’s spanned the last decade. Each summer during that period, the creators spent a month in a different California region. Playwright Alison Carey wove the experiences of those ten communities together with a loose adaptation of Shakespeare’s \u003cem>The Tempest\u003c/em> to create a theatrical event that embeds contemporary Californian themes into a timeless play.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653879\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg\" alt=\"Forest Van Dyke, Jelani Alladin, Jaysen Wright, Rotimi Agbabiaka and Dimitri Woods star in the Bay Area premiere of Tarell Alvin McCraney's Choir Boy at Marin Theatre Company. (Photo: Ed Smith)\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-choirboy-400x286.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Forest Van Dyke, Jelani Alladin, Jaysen Wright, Rotimi Agbabiaka and Dimitri Woods star in the Bay Area premiere of Tarell Alvin McCraney’s \u003ci>Choir Boy\u003c/i> at Marin Theatre Company. (Photo by Ed Smith)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Choir Boy\u003c/em>\u003c/h3>\n\u003ch5>June 4–28\u003cbr>\nMarin Theatre Company (397 Miller Avenue, Mill Valley)\u003cbr>\n\u003ca href=\"http://www.marintheatre.org/productions/choir-boy\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In 2010, playwright and MacArthur “Genius” grant award winner Tarell Alvin McCraney made his Bay Area debut with an unprecedented three-theater presentation of his lyrical, folklore-steeped trilogy \u003cem>The Brother/Sister Plays\u003c/em>. McCraney returned to the Bay Area this April with his take on the Book of Job, \u003cem>Head of Passes,\u003c/em> at Berkeley Rep. And now he’s back at Marin with an intimate gospel-infused drama about power struggles, nepotism and homophobia in an elite prep school choir.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653885\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg\" alt=\"Ariel (Tim Green) and Tupolski (Aaron Murphy) interrogate Katurian (Justin Gillman) in The Pillowman. (Photo: Alandra Hileman)\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-pillowman-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ariel (Tim Green) and Tupolski (Aaron Murphy) interrogate Katurian (Justin Gillman) in \u003ci>The Pillowman.\u003c/i> (Photo by Alandra Hileman)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Pillowman\u003c/em>\u003c/h3>\n\u003ch5>June 12–27\u003cbr>\nThe Breadbox (EXIT Theatre, 156 Eddy Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.breadboxtheatre.org/#!buy-tickets/c1gcv\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>All of Martin McDonagh’s early work is set in Ireland. The first time the Anglo-Irish dramatist turned his attention elsewhere was in 2003 with\u003cem> The Pillowman\u003c/em>, which takes place in a non-specific totalitarian regime. In this eerie and darkly funny thriller, an author of children’s books is interrogated about alleged ties between his fairy tales and a series of gruesome murders. Berkeley Rep gave the play a stunning production in 2007, and now an ambitious new company, the Breadbox, takes on the pitch-black comedy in the intimate confines of the EXIT Stage Left.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653880\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg\" alt=\"Mary (Amy Resnick) and Ben (Jeff Garrett) throw a backyard barbecue in Aurora Theatre Company's Bay Area premiere of Detroit. (Photo: David Allen)\" width=\"800\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit-792x600.jpg 792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary (Amy Resnick) and Ben (Jeff Garrett) throw a backyard barbecue in Aurora Theatre Company’s Bay Area premiere of \u003ci>Detroit\u003c/i>. (Photo by David Allen)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Detroit\u003c/em>\u003c/h3>\n\u003ch5>June 19 – July 19\u003cbr>\nAurora Theatre Company (2081 Addison Street, Berkeley)\u003cbr>\n\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=104&Itemid=655\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>A 2011 Pulitzer finalist and 2013 Obie Award winner for best new American play,\u003cem> Detroit\u003c/em> may or may not be set in Detroit. What matters is that Lisa D’Amour’s sharp satire explores the sense of neighborly disconnection in a “first-ring” suburb right outside a midsize American city. New next-door neighbors strike up an awkward friendship that quickly uncovers how barely they’re all hanging on to their sense of normalcy and the surreal unease lying just beneath the surface of suburban life.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653882\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-freedomland2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10653882 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-freedomland2-787x1180.jpg\" alt=\"Michael Gene Sullivan (Malcolm Haywood), George P. Scott (Tyler Haywood), Lisa Hori-Garcia (Cop), Hugo E Carbajal (Cop) in Freedomland. (Photo: DavidAllenStudio.com)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Gene Sullivan (Malcolm Haywood), George P. Scott (Tyler Haywood), Lisa Hori-Garcia (Cop), Hugo E Carbajal (Cop) in \u003ci>Freedomland.\u003c/i>(Photo by DavidAllenStudio.com)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Freedomland\u003c/em>\u003c/h3>\n\u003ch5>July 4 – Sept. 7\u003cbr>\nSan Francisco Mime Troupe (various Bay Area parks)\u003cbr>\n\u003ca href=\"http://www.sfmt.org/index.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Every Fourth of July, the Mime Troupe unveils a new musical political satire in Dolores Park that they later tour all over the Bay Area, and it’s practically a duty of citizenship to check it out. The 56-year-old theatrical collective picks a different hot-button issue each year to try to get people off their butts and do something. This year, it’s police culture and the growing problem of “innocent until proven guilty,” especially where people of color are concerned, combined with the timeworn issue of the War on Drugs. This is dark and disturbing territory to explore, but writer Michael Gene Sullivan and the troupe do it with broad musical comedy. Just to give you a taste, the name of the fictional drug du jour is “snorf.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653883\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653883\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg\" alt=\"Sean San Jose plays the imprisoned prince Segismundo in Life Is a Dream. (Photo: Courtesy of California Shakespeare Theater)\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream-400x447.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream-537x600.jpg 537w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sean San Jose plays the imprisoned prince Segismundo in \u003ci>Life Is a Dream\u003c/i>. (Photo: Courtesy of California Shakespeare Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Life Is a Dream\u003c/em>\u003c/h3>\n\u003ch5>July 8 – Aug. 2\u003cbr>\nCalifornia Shakespeare Theater (Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda)\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>For the last 15 years, California Shakespeare Theater has increased its output of modern classics and even the occasional new play to compliment the expected fare of William Shakespeare’s greatest hits. \u003cem>Life Is a Dream\u003c/em> fits into none of these categories; it’s a Spanish classic that’s roughly contemporary with Shakespeare’s own time. Pedro Calderón de la Barca’s 1635 drama is about a prince of Poland who was imprisoned by his father because of a bad omen that predicts the prince will destroy the kingdom. And of course there’s a woman dressed as a man on a quest for vengeance against the guy who dumped her, because every 17th-century play needs that sort of thing. Pulitzer Prize-winning playwright Nilo Cruz (\u003cem>Anna in the Tropics\u003c/em>) has adapted the play, which features an unusually and refreshingly diverse cast of great local actors.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653886\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-triangle.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-triangle-787x1180.jpg\" alt=\"Triangle kicks off TheatreWorks' 2015-16 season. (Photo: Courtesy of TheatreWorks)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Triangle\u003c/i> kicks off TheatreWorks’ 2015-16 season. (Photo: Courtesy of TheatreWorks)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Triangle\u003c/em>\u003c/h3>\n\u003ch5>July 8 – Aug. 2\u003cbr>\nTheatreWorks (Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto)\u003cbr>\n\u003ca href=\"https://www.theatreworks.org/shows/1516-season/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>A musical about the Triangle Shirtwaist Factory fire, which killed 146 garment workers in 1911? Not the most intuitive choice. But a workshop version of Thomas Mizer, Curtis Moore and Joshua Scher’s musical was a hit at TheatreWorks’ 2012 New Works Festival, and now its world premiere kicks off the company’s 2015-16 season. A high-tech scientist in the present finds out that his lab in New York City was the site of the infamous industrial accident and unearths his own connection to some of its Jewish immigrant casualties as parallel stories unfold in the past and present. Oh, and it’s a love story, too!\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653888\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653888\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg\" alt=\"Flyer art for Shotgun Players' Eurydice. (Illustration: R. Black)\" width=\"800\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1-767x600.jpg 767w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flyer art for Shotgun Players’ \u003ci>Eurydice\u003c/i>. (Illustration: R. Black)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Eurydice\u003c/em>\u003c/h3>\n\u003ch5>Aug. 20 – Sept. 20\u003cbr>\nShotgun Players (Ashby Stage, 1920 Ashby Avenue, Berkeley)\u003cbr>\n\u003ca href=\"https://shotgunplayers.org/Online/eurydice\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Part of Shotgun Players’ season of works by women playwrights, \u003cem>Eurydice \u003c/em> has been done by a number of local theaters since the Berkeley Repertory Theatre introduced the Bay Area to playwright Sarah Ruhl’s work with a luminous 2004 production. But given the strong theatrical vision of director Erika Chong Shuch, it’ll be exciting to see what Shotgun does with the tale of Orpheus’s wife, reunited with her amnesiac father in the land of the dead. Expect talking stones and an elevator full of rain. But most of all, expect the unexpected.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Hot days mean hot plays. Here are critic Sam Hurwitt's picks for must-see shows this summer.",
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"title": "Nine Plays You Shouldn't Miss this Summer | KQED",
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"headline": "Nine Plays You Shouldn't Miss this Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a ton of hot plays going on this summer, so grab a Slurpee and head down to your nearest performing arts space to catch the heat from one of the nine theater events in our summer theater guide.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653884\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg\" alt=\"Playwright Caryl Churchill. (Photo: Courtesy of American Conservatory Theater)\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo-799x600.jpg 799w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Caryl Churchill. (Photo by Courtesy of American Conservatory Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Love and Information\u003c/em>\u003c/h3>\n\u003ch5>June 3–August 9\u003cbr>\nAmerican Conservatory Theater (Strand Theater, 1127 Market Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/mainstage/love_and_information.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>After three years of anticipation, ACT has reopened the former grungy movie theater known as the Strand as an elegant, live-performance arts space. The company is breaking in its new venue with the West Coast premiere of another challenging work by one of the greatest living playwrights, Caryl Churchill. \u003cem>Love and Information\u003c/em> is a fast-paced series of 57 vignettes ranging from five seconds to five minutes apiece. They feature 140 characters in conversations touching on the tension between privacy and easy access to information in our technological age.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653878\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-CA.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653878\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-CA-787x1180.jpg\" alt=\"Bahni Tupin stars in California: The Tempest. (Photo: Megan Wanlass)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bahni Tupin stars in \u003ci>California: The Tempest.\u003c/i> (Photo by Megan Wanlass)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>California: The Tempest\u003c/em>\u003c/h3>\n\u003ch5>June 4–6\u003cbr>\nCornerstone Theater Company (Z Space, 450 Florida Street, San Francisco)\u003cbr>\n\u003ca href=\"http://zspace.org/new-work/california-the-tempest\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Los Angeles’ Cornerstone Theater Company specializes in community-based theater in which the artists embed themselves in a particular population and talk to locals about their challenges and concerns. They then use this information to create new plays representing people whose voices aren’t often heard on stage. \u003cem>California: The Tempest\u003c/em> is an epic project that’s spanned the last decade. Each summer during that period, the creators spent a month in a different California region. Playwright Alison Carey wove the experiences of those ten communities together with a loose adaptation of Shakespeare’s \u003cem>The Tempest\u003c/em> to create a theatrical event that embeds contemporary Californian themes into a timeless play.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653879\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg\" alt=\"Forest Van Dyke, Jelani Alladin, Jaysen Wright, Rotimi Agbabiaka and Dimitri Woods star in the Bay Area premiere of Tarell Alvin McCraney's Choir Boy at Marin Theatre Company. (Photo: Ed Smith)\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-choirboy-400x286.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Forest Van Dyke, Jelani Alladin, Jaysen Wright, Rotimi Agbabiaka and Dimitri Woods star in the Bay Area premiere of Tarell Alvin McCraney’s \u003ci>Choir Boy\u003c/i> at Marin Theatre Company. (Photo by Ed Smith)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Choir Boy\u003c/em>\u003c/h3>\n\u003ch5>June 4–28\u003cbr>\nMarin Theatre Company (397 Miller Avenue, Mill Valley)\u003cbr>\n\u003ca href=\"http://www.marintheatre.org/productions/choir-boy\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In 2010, playwright and MacArthur “Genius” grant award winner Tarell Alvin McCraney made his Bay Area debut with an unprecedented three-theater presentation of his lyrical, folklore-steeped trilogy \u003cem>The Brother/Sister Plays\u003c/em>. McCraney returned to the Bay Area this April with his take on the Book of Job, \u003cem>Head of Passes,\u003c/em> at Berkeley Rep. And now he’s back at Marin with an intimate gospel-infused drama about power struggles, nepotism and homophobia in an elite prep school choir.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653885\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg\" alt=\"Ariel (Tim Green) and Tupolski (Aaron Murphy) interrogate Katurian (Justin Gillman) in The Pillowman. (Photo: Alandra Hileman)\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-pillowman-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ariel (Tim Green) and Tupolski (Aaron Murphy) interrogate Katurian (Justin Gillman) in \u003ci>The Pillowman.\u003c/i> (Photo by Alandra Hileman)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Pillowman\u003c/em>\u003c/h3>\n\u003ch5>June 12–27\u003cbr>\nThe Breadbox (EXIT Theatre, 156 Eddy Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.breadboxtheatre.org/#!buy-tickets/c1gcv\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>All of Martin McDonagh’s early work is set in Ireland. The first time the Anglo-Irish dramatist turned his attention elsewhere was in 2003 with\u003cem> The Pillowman\u003c/em>, which takes place in a non-specific totalitarian regime. In this eerie and darkly funny thriller, an author of children’s books is interrogated about alleged ties between his fairy tales and a series of gruesome murders. Berkeley Rep gave the play a stunning production in 2007, and now an ambitious new company, the Breadbox, takes on the pitch-black comedy in the intimate confines of the EXIT Stage Left.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653880\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg\" alt=\"Mary (Amy Resnick) and Ben (Jeff Garrett) throw a backyard barbecue in Aurora Theatre Company's Bay Area premiere of Detroit. (Photo: David Allen)\" width=\"800\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit-792x600.jpg 792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary (Amy Resnick) and Ben (Jeff Garrett) throw a backyard barbecue in Aurora Theatre Company’s Bay Area premiere of \u003ci>Detroit\u003c/i>. (Photo by David Allen)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Detroit\u003c/em>\u003c/h3>\n\u003ch5>June 19 – July 19\u003cbr>\nAurora Theatre Company (2081 Addison Street, Berkeley)\u003cbr>\n\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=104&Itemid=655\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>A 2011 Pulitzer finalist and 2013 Obie Award winner for best new American play,\u003cem> Detroit\u003c/em> may or may not be set in Detroit. What matters is that Lisa D’Amour’s sharp satire explores the sense of neighborly disconnection in a “first-ring” suburb right outside a midsize American city. New next-door neighbors strike up an awkward friendship that quickly uncovers how barely they’re all hanging on to their sense of normalcy and the surreal unease lying just beneath the surface of suburban life.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653882\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-freedomland2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10653882 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-freedomland2-787x1180.jpg\" alt=\"Michael Gene Sullivan (Malcolm Haywood), George P. Scott (Tyler Haywood), Lisa Hori-Garcia (Cop), Hugo E Carbajal (Cop) in Freedomland. (Photo: DavidAllenStudio.com)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Gene Sullivan (Malcolm Haywood), George P. Scott (Tyler Haywood), Lisa Hori-Garcia (Cop), Hugo E Carbajal (Cop) in \u003ci>Freedomland.\u003c/i>(Photo by DavidAllenStudio.com)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Freedomland\u003c/em>\u003c/h3>\n\u003ch5>July 4 – Sept. 7\u003cbr>\nSan Francisco Mime Troupe (various Bay Area parks)\u003cbr>\n\u003ca href=\"http://www.sfmt.org/index.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Every Fourth of July, the Mime Troupe unveils a new musical political satire in Dolores Park that they later tour all over the Bay Area, and it’s practically a duty of citizenship to check it out. The 56-year-old theatrical collective picks a different hot-button issue each year to try to get people off their butts and do something. This year, it’s police culture and the growing problem of “innocent until proven guilty,” especially where people of color are concerned, combined with the timeworn issue of the War on Drugs. This is dark and disturbing territory to explore, but writer Michael Gene Sullivan and the troupe do it with broad musical comedy. Just to give you a taste, the name of the fictional drug du jour is “snorf.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653883\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653883\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg\" alt=\"Sean San Jose plays the imprisoned prince Segismundo in Life Is a Dream. (Photo: Courtesy of California Shakespeare Theater)\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream-400x447.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream-537x600.jpg 537w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sean San Jose plays the imprisoned prince Segismundo in \u003ci>Life Is a Dream\u003c/i>. (Photo: Courtesy of California Shakespeare Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Life Is a Dream\u003c/em>\u003c/h3>\n\u003ch5>July 8 – Aug. 2\u003cbr>\nCalifornia Shakespeare Theater (Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda)\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>For the last 15 years, California Shakespeare Theater has increased its output of modern classics and even the occasional new play to compliment the expected fare of William Shakespeare’s greatest hits. \u003cem>Life Is a Dream\u003c/em> fits into none of these categories; it’s a Spanish classic that’s roughly contemporary with Shakespeare’s own time. Pedro Calderón de la Barca’s 1635 drama is about a prince of Poland who was imprisoned by his father because of a bad omen that predicts the prince will destroy the kingdom. And of course there’s a woman dressed as a man on a quest for vengeance against the guy who dumped her, because every 17th-century play needs that sort of thing. Pulitzer Prize-winning playwright Nilo Cruz (\u003cem>Anna in the Tropics\u003c/em>) has adapted the play, which features an unusually and refreshingly diverse cast of great local actors.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653886\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-triangle.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-triangle-787x1180.jpg\" alt=\"Triangle kicks off TheatreWorks' 2015-16 season. (Photo: Courtesy of TheatreWorks)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Triangle\u003c/i> kicks off TheatreWorks’ 2015-16 season. (Photo: Courtesy of TheatreWorks)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Triangle\u003c/em>\u003c/h3>\n\u003ch5>July 8 – Aug. 2\u003cbr>\nTheatreWorks (Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto)\u003cbr>\n\u003ca href=\"https://www.theatreworks.org/shows/1516-season/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>A musical about the Triangle Shirtwaist Factory fire, which killed 146 garment workers in 1911? Not the most intuitive choice. But a workshop version of Thomas Mizer, Curtis Moore and Joshua Scher’s musical was a hit at TheatreWorks’ 2012 New Works Festival, and now its world premiere kicks off the company’s 2015-16 season. A high-tech scientist in the present finds out that his lab in New York City was the site of the infamous industrial accident and unearths his own connection to some of its Jewish immigrant casualties as parallel stories unfold in the past and present. Oh, and it’s a love story, too!\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653888\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653888\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg\" alt=\"Flyer art for Shotgun Players' Eurydice. (Illustration: R. Black)\" width=\"800\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1-767x600.jpg 767w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flyer art for Shotgun Players’ \u003ci>Eurydice\u003c/i>. (Illustration: R. Black)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Eurydice\u003c/em>\u003c/h3>\n\u003ch5>Aug. 20 – Sept. 20\u003cbr>\nShotgun Players (Ashby Stage, 1920 Ashby Avenue, Berkeley)\u003cbr>\n\u003ca href=\"https://shotgunplayers.org/Online/eurydice\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Part of Shotgun Players’ season of works by women playwrights, \u003cem>Eurydice \u003c/em> has been done by a number of local theaters since the Berkeley Repertory Theatre introduced the Bay Area to playwright Sarah Ruhl’s work with a luminous 2004 production. But given the strong theatrical vision of director Erika Chong Shuch, it’ll be exciting to see what Shotgun does with the tale of Orpheus’s wife, reunited with her amnesiac father in the land of the dead. Expect talking stones and an elevator full of rain. But most of all, expect the unexpected.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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